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THE INFLUENCE OF 
THE DRAMA 



By 
GRANVILLE FORBES STURGIS 

A.B., A.M., University of Denver 
LL.B., Columbia University 



T 



THE SHAKESPEARE PRESS, 

114-116 East 28th Street, 

New York. 

1913. 






Copyright, 1913, 
By GRANVILLE F. STURGIS. 






TO 

Ida Kruse McFarlane 

In Remembrance of a Pleasant Winter When We 

Discussed the Contents of the 

Present Volume 

The Author. 



PREFACE 

Lives there a thoughtful person who has not at 
some time paused to consider that great question, 
The Influence of the Drama? It is a question which 
has been uppermost in the minds of men of all Ages 
so far as we have record, and it no doubt troubled 
the minds of the men who first reviewed our earliest 
preserved dramatic writing, that wonderful allegory, 
The Book of Job. 

It is not the purpose of the present volume to 
draw conclusions as to the definite moral effect of 
the Drama upon the Peoples of the Ages, but rather 
to trace the various forms of influence of the Drama, 
and its ways of producing that influence, and leave 
it to each reader to make his own deductions. 

The subject is vast and of necessity its treatment 
must be merely suggestive. It is to be hoped the 
reader may be assisted in arriving at a definite deter- 
mination in regard to many things connected with 
the Play which may hitherto have troubled him. 

G. F. S. 
Denver, Colorado, 1913. 



CONTENTS 

CHAPTER PAGE 

I The Drama Historical 7 

II The Drama Technical 16 

III The Drama Moral 30 

IV The Psychology of Interpretation 41 

V Pantomime and the Dance, and Their 

Places in the Drama 53 

VI The Life of a Play 72 

VII The Play and the Issue of the Hour 81 

VIII The Play and the Select Audience 94 

IX The Influence of Commerce on the 

Drama 104 

X The Moral Effect of the Drama 113 

Appendix: Authors of the Last Decade of 

Dramas Presented in New York City 125 



The Influence of the Drama 



CHAPTER ONE 



THE DRAMA HISTORICAL 



Because of the influence which Puritanism has 
had upon the English speaking races, we have come 
to think involuntarily of the Drama as productive 
only of evil, or, in its mildest form, a simple means 
of pleasure. In this Chapter I wish to comment 
upon the Drama in the early dawn of present day 
civilization, and, if possible to make some deduction 
of the tendencies of the peoples from the forms of 
Drama they patronized, or to reverse the case and 
read the effect of the Drama as writ upon the history 
of those peoples. 

The Egyptians were fond of massive architec- 
tural structures, as their memorials left in forms of 
tomb, pyramid and other bits of half-buried ruin 
bear mute witness. The drawings upon the walls 
of these buildings show the Egyptians in various 
pastimes, both athletic and intellectual. Scenes 
from the spoken Drama are absent, but pictures of 
groups enjoying the pleasures of the dance and the 
operatic muse are very abundant. It is, therefore, 
legitimately deduced that the dance, possibly elabor- 
ated with the pantomime, was the form of the 
theatre which prevailed in ancient Egypt. 

As a nation becomes more refined, the nearer 
does it in its ideals of art approach to the ideals of 



8 THE INFLUENCE OF THE DRAMA 

the ancient civilized nations. Today we admire the 
straight line, the picture which is impressionistic, 
the drawing which is merely an outline and lacking 
in perspective. Woman's dress has been fashioned 
on the straight line, and with half-closed eyelids one 
can almost fancy the present day lady of fashion 
dressed in the style of the ancient lady of Thebes. 
Our music is simpler in composition, our dance is 
simplified. The world seems to move in circles, the 
ends constantly approaching until super-refinement 
is reached, and it is discovered to be the place where 
so-called civilization commenced. So is prepared 
the way for a new birth of ideas, renewed culture, 
greater civilization, until at length refinement has 
again refined itself back to the cave- or tent-man 
days. 

When the Children of Israel took their departure 
from out the Land of Egypt, it is to be supposed they 
took with them the ideals of civilization then fash- 
ionable in Egypt. The Hebrews, as a race, seem to 
have always been lacking in dramatic ideas. As 
individuals they are most expert in delineation of 
character by the written word or the vocal utterance. 
Many of the foremost players of all periods have 
been of Hebraic extraction. In the Old Testament 
are numerous fine Dramatic Songs — The Psalms, the 
Song of Solomon, Song of Jeptha's Daughter, Eccles- 
iastes, Proverbs, Lamentations of Jeremiah the Pro- 
phet; all are wonderfully beautiful books of poetry, 
the verses of which were suitable to all occasions, 
and when rendered to the exquisite accompaniment 
of harp and timbrel must have been beautiful in the 
extreme. That they were frequently accompanied 
by the dance, there is abundant mention in the Testa- 



THE INFLUENCE OF THE DRAMA 9 

ment itself. The dance was used on all occasions, 
and was even employed as a part of certain religious 
exercises. King David on one occasion danced be- 
fore the Ark of the Gonvenant.* But of Drama, as 
the word is generally understood, there is but one 
example, the Book of Job. Peculiarly, this Book is 
generally admitted by theologians to be the most 
ancient Hebraic writing extant. It so, it may be 
that the Hebrew race had a form of the Drama which 
antedates all record, and that the dance was but a 
refinement of the Drama. 

In a recent statement made to a newspaper inter- 
viewer, the husband of Miss Gertrude Hoffmann said 
he believed the day was not far distant when great 
dramatists would turn their attention to writing 
pantomimic dances to be interpreted by dancers. 
That interview was intended to catch the eye of the 
public, but it does represent the advanced ideas set 
forth by all the interpreters of music and pantomime. 
Mme. Pillar Morin, than whom there probably is no 
greater pantomimist today, she who made "L'Enfant 
Prodigue" a classic, not only in France but in other 
lands, believes the spoken word is a non-essential, 
and that it distracts from admiration of the Drama. 
Mr. Brander Matthews, in his closing chapter of 
"The Development of the Drama," takes up this 
phase of the question and says, "The more accom- 
plished the playwright chances to be, the more often 
he will have simple ideas to communicate forcibly; 
and the more frequently will he speak to the eye 
rather than to the ear." Mr. Matthews does not agree 



*2 Samuel, 6, 14, "And David danced before the Lord with 
all his might." For further references in the Bible see word 
"Dance" in any Concordance, 



10 THE INFLUENCE OF THE DRAMA 

to the statement that the spoken word will absolutely 
be dispensed with, but he thinks that as tLa art is 
mastered it will be realized that a gesture sometimes 
conveys a world of meaning and that the spoken 
word accompanying it is in such cases mere redund- 
ancy. Mrs. Fiske is an actress illustrative of this 
statement; she often conveys a wealth of color by a 
movement which many other actresses would find 
hard to express with a score of spoken lines. 

The success of the great Mme. Eleonora Duse is 
due largely to this mastery of thought-transference 
by gesture ; her ability to grow ashen-pale when ac- 
cused of crime is claimed by some critics to have 
contributed no little to advancing her to the head of 
her countrywomen, and this ability may be ventured 
as a reason why she abhors artificial make-up and 
claims such make-up to be a detriment to the true 
actress. 

Mme. Alia Nazimova, the Russian actress who 
came to the United States some years ago with Paul 
Orloff's Russian Company, which made a pecun- 
iarily unsuccessful tour of the States, achieved such 
a triumph as an artiste of unquestioned ability that 
when the company returned to Russia she remained 
behind, learned the English language, and has sub- 
sequently appeared constantly in our vernacular. 
She is mistress of this difficult art of pantomime, and 
to it owed her success when playing in this country 
in a tongue not familiar to the American people. 
Of Clara Morris it was once said by Mme. Sara Bern- 
hardt, "That woman does not act — she suffers." 

This much, then, is apparent that even in the 
days of the Children of Israel the pantomimic dance 
may have been an advanced form of the Drama, 



THE INFLUENCE OP THE DRAMA 11 

rather than the birth of the Drama. However, for 
some unknown reason, all dramatic forms of amuse- 
ment passed from the Hebrew race, and that may be 
the reason why the fire of dramatic desire and enthu- 
siasm burns so brilliantly within their breasts in 
this Twentieth Century. 

If it has been privileged one to see the children 
and young folks of the Educational Alliance, East 
Broadway, New York City, in their weekly perfor- 
mances of the very highest types of Drama from 
Shakespeare to the latest output of Mrs. Frances 
Hodgson Burnett, one can better understand the 
dramatic genius which smoulders in the Hebrew 
breast, for the portrayals of these earnest, semi- 
amateur players are marvelous. They play with an 
enthusiasm which belongs to genius, and their 
mastery of the dramatic technique is well-nigh per- 
fect. Nowhere in the entire Greater City does love 
for the Drama exist as here in the so-called "Ghetto." 
Plays are the most read books on the library shelves 
in that portion of town. These people are largely 
composed of Russian, Jewish refugees. One oft- 
times wonders whether persecution may have pre- 
vented the Hebrew speaking races from developing 
along the line of the Drama. It has been said that 
the Hebrews have excelled in all lines except Art, 
and that the reason why they have produced prac- 
tically no works of Art, paintings, statuary, etc., has 
been due to a literal interpretation of the Second 
Commandment, "Thou shalt not make to thyself any 
graven image nor the likeness of anything that is 
in heaven above, or in the earth beneath, or in the 
waters under the earth," 



12 THE INFLUENCE OF THE DRAMA 

This strict interpretation of the Commandment 
may have had something to do with their non-com- 
petition in this line of endeavor, but, as God Himself 
commanded Moses to the making of Cherubim for 
the Ark of the Covenant, the Guardians of the Mercy 
Seat, and likewise He commanded a brazen serpent 
to be set up in the Wilderness to be used as a means 
of cure for the snake-bitten Israelites, it does not 
seem a satisfactory explanation. Is it not more 
logical reasoning to explain the absence of the Jew 
in the World of Art through so many centuries to 
the fact he had been so persecuted and excluded 
that no opportunity was afforded for study along 
such lines, and that the fight for bare existence con- 
sumed all his energies — and surely there lies the 
foundation of his great ability to accumulate educa- 
tion and wealth when the barriers of social pre- 
judice are removed? 

Greece developed her Drama from the Epic sung 
by the wandering minstrel. The first addition was 
a chorus of voices to emphasize the more important 
portions of the story. Later a second reader was 
introduced who took portions of the verse and re- 
cited them somewhat after the style termed "respon- 
sive reading," which is now employed in the course 
of church services. Gradually this method of read- 
ing was expanded until dialogue resulted. In the 
absence of special scenery the chorus was retained 
to sing descriptive portions, and so make clearer to 
the auditor the environment of the play being pre- 
sented. When Greece began to lose her supremacy, 
and the Roman ascendancy came in, Rome adopted 
what was best in the Grecian Drama. The reader 
must not infer that there had not up to this time been 



THE INFLUENCE OF THE DRAMA 13 

a Latin Drama, for the Romans had had their epics 
sung by the wandering minstrel, Virgil, as he is 
termed, and had had a development of the Drama 
along lines very closely allied with those of the 
Greek. But the later form of the Drama prevalent 
at Rome partook of the best of the early Greek and 
Latin and was a sort of composite of both. Neither 
Drama got away from the "Deus ex machina," the 
god from the machine, the character who spoke 
from the house tops behind the platform, and un- 
ravelled the plot to give the satisfactory ending to 
the play. There is a probability that at times this 
character was suspended at the end of a rope from 
a pulley attached to a beam projected across the 
stage from above. This device was often resorted 
to when a character was supposed to be miracu- 
lously snatched into the heavens. We have not 
even now advanced very far from this contrivance 
when we resort to so-called "invisible" wires — at 
least they are invisible when viewed from certain 
angles, but are all too plainly apparent when a ray 
of light happens to be glinted from their surface, 
thereby spoiling the illusion, or, as many have seen 
in "Peter Pan," when a crack suddenly opens in the 
wall above the window in the Darling Nursery to 
permit the passage of the wire at the end of which 
dangles Peter! 

, The Chinese and Japanese Drama developed 
along lines similar to the Greek and Latin, altho 
they much sooner dropped the chorus and subse- 
quently constructed theatres not unlike those we are 
now accustomed to visit. The Oriental love of 
music has caused Opera to be the favorite dramatic 
form. These people have a faculty for hearing very 



14 THE INFLUENCE OF THE DRAMA 

high notes, and also write their music in half-tones ; 
as a result, their music is not pleasant to the ear 
untrained to its peculiarities. However, it is possible 
to become accustomed to these strange harmonies 
and really enjoy the musical compositions of the 
Chinese* and Japanese. Their airs are always elu- 
sive, but most haunting, and the theme runs as a 
melody through the entire presentation. 

In the Chinese and Japanese Drama there is an 
ever present figure, usually attired in black, who 
places and removes "properties," the articles and 
accessories required from time to time as the play 
progresses. The stranger is prone to laugh at this 
presence who, because of his dark attire, is pre- 
sumed to be invisible at all times. Yet, in a recent 
American farce with musical interpolations, "Jump- 
ing Jupiter," a butler, in brown livery, occupied a 
position quite the kin of the invisible gentleman 
of the Oriental Drama. This character came and 
went as occasion required, removing furniture from 
the stage to allow more room for a dance, and again 
replacing it to allow the plot to continue. Never a 
word did he say, nor was his presence required in 
the plot for any other purpose; his actions were 
accepted as a matter of course, and it is doubtful if 
any but a few critics scattered through the audience 
ever stopped to consider the absurdity of this pro- 
cedure, and probably none placed him at the side of 
the man in black of the Oriental Drama. 



*Some years ago in San Francisco there happened to be 
some of the more famous of the Chinese Players filling a 
protracted engagement at a Theatre in the Chinese Quarter, 
and the Author had the opportunity of studying their work, 
and came to be an admirer of their Drama. 



THE INFLUENCE OF THE DRAMA 15 

In India, the dance and pantomime have been 
the accepted dramatic form for so long that anything 
else seldom occupies the attention. Modern Drama 
is accepted in India by the foreigners resident in her 
cities, and by the more cultured of the natives, but 
it is not the Drama peculiar to the country, and in 
this chapter we have confined the discussion to the 
Drama characteristic of the individual races of men, 
and avoided the dramatic forms which are coming 
to be universally accepted by all countries by reason 
of the intermingling of the nations. 

The American Indian revelled in the Epic and 
the Dance, sometimes elaborated by a pantomime, 
and almost always depicting hunting exploits and 
prowess in war. What is nearest to the hearts of 
a people has always been the most successful subject 
for the contemporary dramatist. It may not be the 
most lasting Drama, but it is the most popular at 
any particular moment. 

The English, Spanish, Italian, and French Drama 
all had a source similar to the other countries and 
nations just discussed, an Epic. In each of these 
newer countries religious history and tradition were 
at the basis, and the Drama developed through the 
usual channel of responsive reading and chorus to 
a more or less well-knit Drama. Then the Child of 
the Church was taken out of the sanctuary to a scaf- 
folding erected against the outer walls of the church, 
or to a courtyard of a monastery, then to the public 
square of the town, and finally the Drama passed to 
the hands of laymen who later erected special houses 
to receive it. 

From this very sketchy survey of the beginnings 
of the Drama, what can we read into its influence 



16 THE INFLUENCE OF THE DRAMA 

upon the lives of the people who have admired it in 
its various forms?* 



CHAPTER TWO 

THE DRAMA TECHNICAL 

What is technique ? It is the woof upon which is 
built the dramatic fabric! One must have a good 
foundation for a play, a clever, well-considered plot, 
and then he must bring forward all his knowledge 
of technique to set it before the audience in the most 
logical and attractive form. No matter how beauti- 
ful a pattern a rug-maker may have in mental con- 
ception, he must have a foundation of linen or 
cotton threads upon which to elaborate and build 
up his pattern in worsteds or silks. So it is with 
the Drama. When a man laboriously produces a 
play as a result of a protracted period of study, 
meditation and hard physical work with pen or type- 
writer, the play is destined to be a credit for many 
generations, but when a play is turned out from the 
mill of a hack-playwright's brain, it is likely to soon 
show its weak spots, like the machine-made rug, 
and becomes tattered after a brief period of use. 
If the basic threads of a play be linen, the play will 



*For a more thorough and exhaustive discussion of the 
history of the Drama, the reader is referred to "A Study of 
the Drama," by Brander Matthews, published by Houghton 
Mifflin Co., 1910. 

"The Appreciation of the Drama," by Charles H. Caffin, 
published by The Baker & Taylor Co., 1908, is well worth 
reading. 



THE INFLUENCE OP THE DRAMA 17 

have greater vitality than if they be cotton. Yet, 
cotton is not such a bad foundation, and a skilful 
artisan may understand its strength and not load the 
threads beyond the weight that they can safely 
carry; and a charming play — a farce or trivial 
comedy — may be the result, which, with careful 
handling, may long hold the boards, and even be 
found presentable to a public after long periods of 
rest in the quiet darkness of the storage-room. 

The colors may be somewhat dimmed, the creases 
and wrinkles may be too firmly impressed to be 
entirely ironed out, yet the fabric is sound and will 
please the eye of the not over fastidious. The farce, 
"Charlie's Aunt" may be placed in this class; it never 
was a very substantial play, but it was well designed 
and tickled the intellect; it was not all froth, but of 
sound structure, and to this day it still serves its 
purpose of amusement, and can safely be pulled 
from its wrappings and shaken out to delight the 
friendly audience which worships the neighborhood 
stock company who don these second-hand garments 
weekly for a minimum admission fee. 

Pure linen, threads of gold, richly embroidered 
upon a plain, grayish background, is "Magda" by 
Hermann Sudermann. This play is almost actor- 
proof, by which term we mean that its construction 
and plot are such that the most incompetent people 
cannot fail to make visible the beauties of the struc- 
ture, tho the illumination they bring to the text may 
be as the illumination of a tallow dip in comparison 
with the latest form of electrical illumination. A 
score of variant readings may be given to the leading 
role by the actresses essaying it, yet all will be 



18 THE INFLUENCE OF THE DRAMA 

interesting and each afford an abundance of food 
for quiet after consideration. 

From a technical standpoint there are two plays 
which tower above all others, and to which the ear- 
nest student of dramatic construction should be 
commended; they are, "The Second Mrs. Tanqueray" 
by Sir Arthur Wing Pinero, and this "Magda" 
("Heimat," as the play is called in the original Ger- 
man.) The choice of plot is not to be recommended, 
for there are in this world an abundance of plots 
which will not be cause for cavil among certain 
classes of people ; in neither of these plays is there a 
line, scarcely a word, which is not essential to a 
complete understanding of the story presented, 
while the stage directions in italics and brackets are 
admirable in conciseness, and are a model for any 
aspiring dramatist. Read and re-read these plays, 
and new beauties, new ideas will occur to the mind, 
and with each reading the student is further 
advanced upon the road toward a mastery of this 
most difficult accomplishment, play-writing. 

There are few dramatists; of writers of plays 
there are millions ! There is a story that two friends, 
as they journeyed to their respective destinations 
in a New York street car, w T ere discussing plays and 
the art of writing them. One wagered that even the 
conductor of that car would be spending his spare 
hours constructing a play, lured by the phantom 
wealth which dances before the eyes of the stage 
aspirant in all its branches. As they arose to leave, 
one said to the conductor in passing, "How is your 
play progressing?" Quickly came the answer, 



THE INFLUENCE OP THE DRAMA 19 

"Very well, thank you, sir. I have almost finished 
my second act, but am stuck with my third." 

Once I read the statement of the United States 
Copyright Office as to the number of plays received 
there yearly ; it was stupendous, and I dare not quote 
from memory the figures.* But of all these plays, 
how many ever see the footlights? There are scores 
of worthless plays which are floating around from 
manager to manager unaccepted, and knocking at 
the unopened door until their limbs are meagre and 
their joints creaking with age; but there are count- 
less thousands passing from hand to hand which 
are not even arrayed in the semblance of a play, 
and are as the man at the marriage-feast minus the 
essential wedding garment. One is amazed at the 
audacity of people who sit down to compose a play 
without ever having examined a printed book to see 
how the dialogue and action, (technically termed 
the "business"), are arranged. 

There may be one scene, or as many as fifty 
scenes with as many separate and distinct requir- 
ments in the way of scenery! The characters may 
be many or few, and most of these will have prac- 
tically no connection with the plot, the story. One 
evening recently a little girl told me she had decided 
not to use any of the printed plays she had been 
examining in an endeavor to secure a Christmas 
piece for herself and friends to present in a parlor 
before their admiring papas and mammas, for, as 
she said, "Any one can write a play," and she felt 
confident she "could produce one much better suited 



*Over 4000 dramatic compositions are copyrighted in 
the United States annually — Editor. 



20 THE INFLUENCE OF THE DRAMA 

to the personalities of herself and friends" !* It was 
a sad reflection upon the plays she had been perus- 
ing, which were some of the pieces carried in stock 
by Sunday School publication societies. 

In a way, the child's comment was good, for 
most of these productions offered at Christmastime 
are not worthy the attention of the children in the 
kindergarten of the school, let alone those of more 
advanced years. The most inane variety show of 
past generations was never so devoid of interest and 
adhesion as are the majority of these Christmas 
entertainments; named "entertainment" by the de- 
luded Sunday School committee. And the music 
which accompanies them is usually just as far away 
from that word in its right acceptation as the drama 
being unfolded upon the temporary stage of the 
auditorium. 

It is high time that we awoke to the fact that we 
are storing children's heads with useless words, and 
that even a Sunday School play at Christmastime 
should have in it some common sense, and that the 
English should be of the best. In the selection of 
pieces for such occasions the same consideration 
should be used as in the selection of a gift book for 
a valued friend. If the Drama is ever to be elevated 
to a more exalted position in literature, we must 
begin with the children and inculcate in them a love 
for what is beautiful in word and deed. 



♦Even Royalty occasionally produces a Drama. Queen 
Elizabeth of Roumania ("Carmen Sylva"), who is a poet and 
authoress, about 1893 wrote a play in French called "Meistor 
Manoli," which the Italian Tragedian Novelli first presented, 
and with considerable success, about 1905 or 1906. 



THE INFLUENCE OF THE DRAMA 21 

One evening a friend brought me Longfellow's 
pretty poem, "The Courtship of Miles Standish." It 
is used very largely in the grammar schools of the 
country as one of the requirements in English. 
Because of this use, a well-intentioned person has 
marked it off into the form of dialogue, bracket- 
ing the descriptive portions, and labelling with the 
names of the characters the colloquial portions. 
For school use this arrangement of the text is really 
excellent, for it demarks passages suitable for 
memory work, and allows a teacher to assign the 
portions in such a way that on class exhibition day 
the scholars can present the entire poem in dramatic 
form. But this friend, whose study of the Drama is 
of recent origin, believed he had made a valuable 
dramatic discovery, and came recommending it for 
production before a very different type of audience. 
As a portion of the now popular historical 
pageants, this text might be employed to good 
advantage, but for use as a play, standing on its own 
merits, this rough-and-ready dramatic arrangement 
is quite impossible. Merely cutting a book or poem 
into a certain number of scenes and portions of 
dialogue is not building a play. 

An architect draws a plan before he undertakes 
the actual work of erection, and so must the play- 
wright. If the plan be not appealing to the eye, it 
must be discarded. An architect's impracticable 
plan is of value only as a water-color picture for a 
wall, and in the majority of cases it has not even thai 
value. Some plots are so slight that they are not 
capable of development beyond twenty-minute 
length; to protract them is as if one had executed a 
commendable painting with two or three central 



22 THE INFLUENCE OF THE DRAMA 

figures, and was so impressed with the result that 
he crowded the canvas with numerous other figures. 
If the canvas be large, and not already crowded with 
scenic detail, the artist may have a good picture after 
this process of expansion, but the Fates are likely to 
be against him. 

In like manner, if one has written a good one-act 
play, let him not be tempted to the mistake of 
enlarging it. "The Chorus Lady" is a very promi- 
nent example of this process, which was certainly 
financially successful : it was built up from a one-act 
dramatic sketch long popular in vaudeville ; and yet, 
from a technical standpoint, "The Chorus Lady" is 
far from perfect, and judged from that point of 
view the original twenty minute length was a finer 
achievement. Mr. George Beban was for several 
seasons successful in vaudeville with a pathetic little 
piece called "The Sign of the Rose." It tells the 
story of a poor Italian begging a rose to take to his 
dying child. Remarking the success of enlarged 
sketches, he had his little effort expanded, and with 
disastrous results. On the other hand, a short story 
is often capable of development into a long play. 
Some of these are better in their play form than in 
their original dress as short stories; for example, 
Jerome K. Jerome's "The Passing of the Third Floor 
Back," presented in this country by that master of 
English diction, Mr. Johnstone Forbes-Robertson; 
Mrs. Frances Hodgson Burnett's "The Dawn of a 
To-Morrow," presented first by Miss Eleanor Robson, 
and, after Miss Robson 's marriage to Mr. August 
Belmont, by Miss Gertrude Elliott, who in private 
life is Mrs. Forbes-Robertson, wife of the actor; and 



THE INFLUENCE OF THE DRAMA 23 

"Alias Jimmy Valentine," which was arranged by 
Mr. Paul Armstrong from a tale of that master of 
the short story, the late 0. Henry. Many years ago 
Sir A. Gonan Doyle, most familiar to the reading 
public because of his detective stories, wrote a short 
story called "A Straggler of '15," which the late Sir 
Henry Irving was accustomed to use as a curtain- 
raiser to "The Bells," under the title "A Story of 
Waterloo." As it happened this story was almost 
in perfect condition for transference to the stage; 
but if one were to try to expand it beyond its thirty 
minute length, he would work sad havoc and ruin 
of what is now a gem of English character delinea- 
tion, and of perfect dramatic construction, a simple 
story, but one of throbbing, intense interest. 

To revert for a moment to the fewness of the 
recognized dramatists in the world. In his book 
"Studies in Modern German Literature," Dr. Otto 
Heller of Washington University names only Her- 
mann Sudermann and Gerhardt Hauptmann, and a 
few women who have achieved some slight success 
in writing for the stage. Prof. Brander Matthews 
of Columbia University, in his "French Dramatists 
of the 19th Century" names considerably more men 
who have been successful in France; they are, 
Victor Hugo, Alexander Dumas, Eugene Scribe, 
Emile Augier, Alexandre Dumas fils, Victorien 
Sardou, Octave Feuillet, Eugene Labiche, Meilhac 
and Halevy, Emil Zola, Edmond Rostand. Belgium 
boasts most justifiably of Maurice Maeterlinck; 
Italy of Gabrielle D'Annunzio; Denmark of Henrik 
Ibsen; England has had Sir Arthur Wing Pinero, 
Henry Arthur Jones, H. V. Esmond, J. M. Barrie, G. 
Bernard Shaw, Oscar Wilde; Charles Rann Kennedy, 



24 THE INFLUENCE OF THE DRAMA 

and recently Louis N. Parker has won for himself 
a place among the immortals. 

Ireland has had dramatists only in very recent 
years, but these have blazed a permanent place for 
themselves in the literature of the world — J. M. 
Synge, W. B. Yeats, and Lady Gregory. America 
has produced Dion Boucicault, Bronson Howard, 
Augustus Thomas, Clyde Fitch, and a number of 
very recent dramatists whom I do not include, as it 
is too early to tell what permanent effect their works 
will have in the development of the truly American 
Drama. The plays of many of the dramatists named 
in the list are dead and buried these many years, but 
the success of these dramatists over their contem- 
poraries has been sufficient to justify us in singling 
them out as representative of the dramatists of their 
lands.* Any reader at all versed in the Drama will 
recall names omitted from the list, and wonder why 
they were not included. Perhaps there are other 
Americans who should have been included, but 
those mentioned have to their credit many plays 
which have helped give a trend to the American 
Drama, and are best known to the average theatre- 
goer. There are thousands of people who have 
achieved success with one or two plays, but who 
cannot rightfully claim admission on the strength 
of that ephemeral success.f 



*Mr. Henry Tyrrell in an article in "The Theatre 
Magazine" of date December 1904, entitled, "World Drama- 
tists of To-Day," makes this classification of the prominent 
dramatists: "Ibsen, Pinero, Sudermann, Hauptmann, Her- 
vieu, Fitch, and Thomas, creative dramatists; Rostand, Mae- 
terlinck, Phillips, and Fulda, dramatic poets; Sardou, theatri- 
cal craftsman; and Shaw, critic — and cynic." 

fFor complete lists of American Dramatists of last ten 
years, see Appendix at end of present Volume. - - 



THE INFLUENCE OF THE DRAMA 25 

In a discussion on Technique the significance of 
stage-setting is deserving of careful consideration. 
The character of the occupant of a room should be 
reflected in the manner in which the stage is ar- 
ranged, and managers should spend much time and 
thought in attaining this end. The set used in the 
first act of "The Witching Hour," Augustus Thomas, 
is typical of the mysticism of its occupant. Above 
the door is perched a raven, close to the bust of pale 
Pallas. In the face of the mantel is a carved marble 
head of Plato. These adornments furnish a clear 
insight into the mind of the man we are about to 
meet. In a later act we are ushered into the library 
of quaint Justice Prentiss, a gentleman of mellowed 
sentiment, altogether attractive. The orderly books 
in the high, built-in cases, the orderly desk, the 
common-sense lamp on the table — all indicate the 
character, and when Justice Prentiss himself enters 
in his quaint, quilted dressing-robe of faded silk, 
his white hair flowing away from his intellectual 
temples, we are not at all unprepared for the revela- 
tion of character about to be presented. 

The bedroom of Laura, in David Belasco's "The 
Easiest Way," was copied exactly from a furnished 
room in New York's theatrical district, and the 
furniture was purchased and removed for the stage 
presentation. In "The Country Boy" Edgar Selwyn, 
the author, copied the rooms of a boarding-house in 
which he had resided when a struggling youth. The 
remarkable livableness of the bachelor's room in Mr. 
Haddon Chamber's "Passers-By" is the outcome of 
much thought and research on the part of Mr. 
Chambers. The beautiful Colonial interior in "The 



26 THE INFLUENCE OF THE DRAMA 

Warrens of Virginia" was copied from an old 
Southern mansion, and the mahogany furniture 
brought from the same house. Thus it is evident 
that even on the stage, and in matters of stage- 
setting, truth is stronger than imagination. 

The Turkish room of the Waldorf-Astoria hotel 
was accurately copied for the original production of 
"The Earl of Pawtucket." In one of Clyde Fitch's 
plays a duplicate set of china, silver and linen was 
prepared at great expense because a certain luncheon 
scene was located in a famous hostlery, the details 
of which were known to many in the New York 
audiences. Before staging the "Garden of Allah" 
artists were sent to the Great Desert of Sahara to 
study the actual garden and the light effects of the 
Desert. The sandstorm in this play was accurately 
produced only after exhaustive experimentation, and 
corn-meal was finally found to give a more realistic 
appearance than sand itself ! 

The experienced playwright gives careful consid- 
eration to the furnishings of any scene, and en- 
deavors to make it reflect the persons who are to 
move in it. Many minor details are considered 
which, taken into consideration with a certain 
character, accurately indicate the temperament of 
that person. Thus we find in "Hedda Gabler" Ibsen 
used a pistol to typify the explosive character of 
Hedda. There are those who would have us believe 
that Ibsen was fascinated with a pistol and took that 
for the starting point of his great drama. Such is 
not the case. Searching for something which 
should be indicative of the woman he had in mind. 



THE INFLUENCE OF THE DRAMA 27 

he hit upon the pistol, and from that resulted the 
explanation that her relative was a military per- 
sonage, or, having made her relative military, it was 
a simple matter to place a pistol in the hands of 
Hedda, and later to make use of the pistol in the 
solution of the problem presented. 

The fjord in "The Lady from the Sea" may have 
suggested to Ibsen the idea of writing a play about 
persons who lived a shut-off existence at its end, and 
"The Lady" resulted; or it may have been selected 
simply as a contrast to her former existence on the 
sea-coast, and so explain her natural longing for her 
old home and the wide-swelling ocean. It was a 
place suitable for locating such a restless tempera- 
ment. The symbol is an incident to the plot, not the 
"raison d'etre" (reason for existence) of the play. 
To summarize, in the use of the concrete, the char- 
acter determines the typical, and its place the 
external. 

Costume, likewise, is carefully considered by 
author and player. It should strike the keynote of 
the character, so that the spectator can classify the 
individual without any hesitancy. The lady of 
good taste is marked by refinement in dress on the 
stage as off. The woman of recent wealth is over- 
dressed, and just in the degree that she is overdressed 
is she vulgar. The woman of doubtful character 
betrays it in her manner of dress. We could go on 
indefinitely, but the suggestion is quite sufficient. 

The young playwright is tempted to do one of 
two things — either slight the description of the stage- 
settings, or over-elaborate them by filling them with 
oountless details which have no symbolism. The 



28 THE INFLUENCE OF THE DRAMA 

same thing is sometimes noticeable in the work of 
more experienced persons. However, any expert 
dramatist will select certain articles of furniture, 
certain small properties which are characteristic of 
the individuals depicted. It is not necessary to fill 
a great amount of space with needless stage-direc- 
tions to indicate actions which are logical to the 
lines. Such directions should be left to the good 
sense of the performer or stage director; but neces- 
sary stage-directions, entrances, exits, crossings, 
risings and sittings, must be given in parenthesis in 
the text. Likewise, it is not absolutely necessary to 
go into detail as to the costume to be worn, and the 
definite age in years of the character impersonated. 
How seldom did Shakespeare ever give any definite 
information concerning his characters! However, 
it is well to make a brief note of the general appear- 
ance of each character at the first entrance, or when 
there has been a marked change in dress or personal 
appearance. The careful reading of numerous pub- 
lished plays will soon teach the student what should 
be included and what omitted. A playwright of 
established reputation will frequently go into elabor- 
ate detail in order to assure the presentation of his 
play exactly as it has matured in his own mind. 

Another point to be carefully considered is this : 
the plot should steadily progress toward the climax 
of each act, and each act should be tending toward 
the final climax, and each should be a trifle stronger 
than the preceding so that there may not be an anti- 
climax — a frequent cause of failure in otherwise 
good plays. It is not well to reveal to an audience 
the ending of the play, or they will be impatient for 



THE INFLUENCE OF THE DRAMA 29 

it to arrive, and many will leave before the final 
curtain. Inexperienced writers fill pages with 
words which lead nowhere and have no value except 
as time-killers. Conversation must be reduced to 
a minimum, and should be kept strictly to the sub- 
ject in question, and not be allowed to stray off into 
society small-talk of no interest to any one in the 
audience. Many successful writers have sometimes 
made this mistake. Rather, they have written plays 
of merit but too brief in action, and then have tried 
to fill in lines to lengthen the time of performance. 
Being men whose plays are in demand, they have 
been able to extract a contract requiring that the 
play shall be produced exactly as written, word for 
word, with no cuts, additions or omissions. The 
compliance has caused many a manager to drop 
thousands of dollars upon a play which failed 
simply because of its verbosity. 

"John Glayde's Honor" was not really badly con- 
structed nor uninteresting in subject, and if it had 
been permissible to cut about fifteen minutes of 
useless talk from the beginning of the first act, to 
eliminate some unnecessary talk from the scene in 
which John Glayde is dictating cablegrams and 
letters, and to hurry the "business" of that act, the 
play would have stood a reasonable chance of 
success. But Mr. Alfred Sutro would not permit any 
such alterations, and the play terminated its tour 
after sixteen performances at Daly's theatre, New 
York city. Henry Arthur Jones made a very similar 
error of verbosity when he wrote the comedy "The 
Woman Hater." In this piece there are paragraphs 
and paragraphs which ought to have been discarded, 



30 THE INFLUENCE OF THE DRAMA 

and several characters which only confuse the other- 
wise lucid lucidity of a rather clever plot.* 

CHAPTER THREE 

THE DRAMA MORAL 

Figures are always interesting things to consider, 
and in discussing the theatre and its morals, it is 
well to think how many places of amusement we 
have in the United States at this writing, and how 
many more are in process of construction, and how 
many people are given employment by reason of 
these amusement temples : consider, then, if the in- 
fluence of these places be other than good, what 
viper-nests we support among us; if the balance 
drop in favor of good influence, what a mighty 
force there is at work for the uplift of mankind. 
Personally, I feel the balance is about even, and 
that the pleasant relaxation which the theatre 
affords, and the genuine mental stimulus which 
many plays give, cause the weight to fall more on 
the beneficial side of the scale: that is, I think the 
moral equation is equal, but that the other benefits 
afforded by the theatre far outweigh the immoral 
portion. 



•For a very exhaustive treatise on Technique, the student 
is referred to Mr. W. T. Price's "The Tecnnique of the 
Drama," published by Brentano, 1909, and to the same author's 
"The Analysis of Play Construction and Dramatic Principle," 
published by Mr. Price himself, 1440 Broadway, New York 
city. Mr. Price also has a circulating library of published 
plays which are loaned to students. "The Art of Play- 
writing," by Dr. Alfred Hennequin, of Ann Arbor, published 
by Houghton Mifflin Company, 1890, is also worthy of careful 
consideration by those zealous to write plays. 



THE INFLUENCE OF THE DRAMA 31 

As to the figures, I quote from a recent interview 
with Mr. Tim Murphy: "There are, traveling and 
resident, throughout the United States and Canada 
this month over 700 companies of all classes — stars, 
stock, dramatic, burlesque, operatic and miscellane- 
ous. This does not include the vaudeville com- 
panies. There are one or more vaudeville theatres 
in each city of any pretension. There are about 
3,200 places of amusement in America. Each 
theatre supports about twelve people. In New York, 
Boston, Chicago and some other cities the pay-roll 
numbers as high as sixty in many instances. But 
at a conservative average there are 38,400 people 
employed by the theatre. The traveling companies 
average from ten to one hundred people; but there 
are so many of them from ten to fifty people that I 
think thirty is a safe average. This includes the 
actors, the advance man, and the managers and 
workmen travelling with the company. I should 
say that the companies employ about 25,000 people. 
Indeed, this is not only conservative ; it is not correct. 
Any one will bear me out that there are nearer 
40,000 actors and managers in America. 

"Thus the figures show that the American people 
hire 55,000 people annually to entertain his majesty, 
the Public, in its theatres. Each of these 700 com- 
panies plays an average of thirty weeks. Companies 
cannot live on less than $3,000 a week business, and 
attractions of the popularity of Bernhardt, Warfield, 
Sothern-Marlowe and Ben-Hur often take as high 
as $18,000 a week. But if the entire average be 
taken at $5,000 a week, it will be seen at a glance 
that the American people today pay one hundred 
million dollars annually for the support of the 



32 THE INFLUENCE OF THE DRAMA 

theatres. Do you form any sort of conclusion as to 
whether the theatre is more popular Uian for- 
merly?"* 

Many who are familiar with the name of the old 
Boston Museum, do not know the why and where- 
fore for that name, when the house is a theatre. No 
doubt the thought is that it once was a museum. Mr. 
William Warren, who has edited a fine collection of 
standard plays, and who for many years managed 
the Museum, once explained the name to Mr. 
Murphy, and again I quote from Mr. Murphy's 
article. "That was a trick, a trick, my boy. The 
good old Puritans wouldn't come to a play-house. 
They considered the theatre the ante-room to a good 
deal hotter place than they could promise a sinner 
this side of death. But they'd consent to be enter- 
tained in a museum, in a place supposed to be de- 
voted to informing, having educational objects. So 
they had a museum for a theatre. But to cap it all 
they called the audience chamber the 'Art Gallery.' 
Three very bad oil paintings constituted the 'collec- 
tion.' I've given my plays in the art gallery many 
a time. Well, Tim, it's been a museum ever since, 
and the saintly old hypocrites will see plays there in 
the art gallery that they wouldn't dare to enter a 
theatre to see." 

There is a lot of truth in that statement of Mr. 
Warren's, and whilst prejudice against the Drama is 
rapidly vanishing, there still remain many who will 
hold up their hands at the name "play," but will go 
and listen with rapture to the worst drivel ever 
offered by a Young Ladies' Sewing Circle, provided 



♦For this entire interview, which is well worth reading, 
see "New York Dramatic Mirror," November 8, 1911. 



THE INFLUENCE OF THE DRAMA 33 

it be called a "dialogue." Well, what's in a name? 
Very likely that was an ancient question even in the 
day of Shakespeare! There is a great deal in a 
name, and the name makes no end of difference in 
attracting the public as well as holding it. The 
theatre once having got a bad name, as it did all too 
soon after it left the paternal influence of the Church, 
has been all these centuries trying to eradicate the 
stain which hangs o'er it. If a play be called "im- 
moral," it is almost impossible to ever completely 
clear away the aspersion, however unjust. Only a 
few days ago "The Notorious Mrs. Ebbsmith" was 
included by a writer in his list of immoral plays. 
Had he said "Mrs. Tanqueray" there might have been 
a slight amount of justification, but to call poor Mrs. 
Ebbsmith such, simply because the dear lady had 
been accustomed to harangue the downtrodden poor 
in the streets of London on doctrines of Socialistic 
Equality — it is an out and out libel. Unfortunately, 
that word "notorious" has come to have a bad odor, 
quite different from its original meaning of "prom- 
inent," hence Mrs. Ebbsmith's skirts are announced 
as contaminated! 

With regard to "Paula Tanqueray." She is con- 
demned to the black-list almost universally, and yet 
poor Paula, so far as she is revealed upon the stage, 
is doing nothing to shock the most prudish sensi- 
bility: hers is a struggle through four long acts to 
live up to the good reputation which Ellean has 
given her — dear, simple, uncontaminated Ellean, 
Aubrey Tanqueray's daughter by his first wife — and 
feeling she cannot by any atonement or sacrifice ever 
clear away the ghost of her sinful past, poor Paula 
commits suicide. But even in the moment of her 



34 THE INFLUENCE OF THE DRAMA 

death, unsophisticated Ellean blames her own self 
for a part in it. Vice is not shown at any time ; all 
we see is a penitent Magdalen trying hopelessly to 
redeem her wasted years, and be kind and good and 
pure. Surely it is a helpful lesson and should 
receive the endorsement of the pulpit, not its con- 
demnation.* 

To me, "Magda" by Sudermann is one of the most 
intense sermons ever preached, and in it I find 
nothing but a wholesome moral lesson. The 
penitent sinner, after one false step, returns home, 
is faced with her guilt, and confesses her sin, but — 
and here lies the immorality, no doubt — refuses to 
marry the man who wronged her, who went his 
way and forgot her until now that she has become 
rich and famous, a great singer, and who now will 
marry her for some of the honor which will be his 
because of this alliance, altho he is not willing to 
acknowledge his child for whom the mother has 
starved and begged in the streets, but wants the boy 
sent away to some orphanage; and also, the father 
of the child proposes that Magda shall sink her own 
personality in his, and become a mere keeper of his 
house. The proposition is revolting to Magda, as 
it should be to any right-minded woman who has the 
least spark of mother-love within her bosom, and 
rather than give up the child she loves, she prefers 
to be known as one of the class of nameless women. 
Madga is admirable for her courage to live her life, 
and to refuse such terms as were offered to her by 
the scoundrel, Dr. von Keller, councillor. Simply 
because a man or a woman has been so unfortunate 



♦"The Notorious Mrs. Ebbsmith" and "The Second Mrs. 
Tanqueray" are by Sir Arthur Wing Pinero. See Appendix. 



THE INFLUENCE OF THE DRAMA 35 

as to have had an unfortunate past is no reason for 
condemning a play which only shows the blameless 
present, an attempt to outlive the follies and crimes 
of an unguided youth. 

But of those who have condemned the heroines 
mentioned, how many are there who will not sit and 
weep at the sorrows of Lady Isabel in "East Lynne?" 
And surely "East Lynne," in spite of all its endorse- 
ments to the contrary, should be listed as "immoral." 
Do we not see Lady Isabel listening to the suggestions 
of the tempter, leaving her home and the child she 
afterwards pretends to love, and going away with 
her lover? Because the lover deserts her, that she 
is cold and hungry, and that she realizes that in her 
husband's house "many hired servants have bread 
enough and to spare, and I perish with hunger!" — 
that fact is the real reason for her penitent return as 
the governess. But her husband did not meet her 
with the robe and the ring, and kill the fatted calf 
as in the Parable of the Prodigal Son. Feeling that 
she has made a mistake in returning, she keeps 
secret her identity until her child, whom she has 
now really come to love, if such a woman as she can 
ever love in the highest sense of the word, until 
that child is dying and calling for "Mamma," and 
then in tears she tells her guilty secret, and the 
audience weeps with her. 

I admit that I have been among the easily duped 
who weep nightly somewhere this wide world 
over because of the woes of Lady Isabel, and I, too, 
have felt the husband ought to be kicked for so long 
refusing to clasp her in his arms and say "I forgive." 
The play is tricky, and we are carried away on the 
waves of unreasoning emotion, and so we $o out 



36 THE INFLUENCE OF THE DRAMA 

feeling that Lady Isabel was unjustly condemned, 
when our better sense should tell us she had made 
her own choice, and had no reason to blame anyone 
because that choice did not prove altogether to her 
liking. Therefore, "East Lynne" must be called a 
dangerous play, and one not to be recommended to 
our schoolgirls, as we keep insisting of so many 
plays. Yet, if the schoolgirl would think seriously 
upon the play afterward, she could gain a fine 
moral lesson by reason of the piece, and there might 
be a time in her life when, having seen this play and 
recalling it and its sad outcome, her own ears would 
be closed tight against that soft, pleasing voice of 
the tempter. 

And now I come to another one of the dangerous 
women, "La Dame aux Gamelias," of Dumas fils, 
called in plain English "Gamille." This play is 
familiar to everyone, and needs no summary of its 
events. It is simply a thesis written to show that no 
matter how sinful one may have been, a pure love 
redeems all. But does it? I think Paula Tanqueray 
answers that question in the negative, for her life 
failed. "Gamille," like "East Lynne," depends upon 
the tidal wave of emotion to sweep us over the 
treacherous holes beneath the surface of the waters, 
and land us at ten-thirty safely on the well-lighted 
sidewalk, bound for the nearest restaurant, the moral 
quite forgotten, and only the memory of a splendid 
piece of acting and real tears shed by the leading 
lady ! To think rationally of Gamille is to side with 
Armand's father who broke up the dovecote and sent 
each about his and her own business. 

"Sapho" of Daudet is another such piece; sin and 
the sinner flaunted before us with no real moral 



THE INFLUENCE OF THE DRAMA 37 

purpose in view. Likewise "Zaza," won by the love 
of a man who owed allegiance to a sweet little wife 
at home, and then weeping because he has a wife 
who claims him, and finally, tired of him, and lured 
by some other suitor, she magnanimously returns 
her lover to his poor wife and the home she, Zaza, 
has shattered. What right have we, as honest men 
and women, to pity the wanton because her own 
affections seem to have been injured once, when she 
has never paused at any time to consider the human 
wreckage she is strewing on each side of her path? 
"Iris," too, is another one of these ladies over whom 
we must not waste sympathy.* 

To approach still more recent examples of dan- 
gerous plays : "Paid in Full," whilst being outright 
immoral in one scene, is tinged with dishonor from 
start to finish, and is not at all wholesome, its only 
moral lesson being that one ought not to live beyond 
his means, and the other suggestion that even a 
roue can have sparks of decency at times.f "The 
Easiest Way" is a sad, sad truth, and represents the 
history of many a young girl of today in our large 
cities. If it stirs a father or mother, a young man 
or woman, to be different, it has done a good work. 
It is a play which does set an audience to thinking, 
and hard thinking, and I am inclined to believe 
it has resulted in much good. Whether this play 
was written as a moral lesson is exceedingly doubt- 
ful; few plays are written to replace sermons, and 
if they contain a sermon it is a secondary considera- 
tion. 



*"Iris" is by Sir Arthur Wing Pinero. 
t'Taid in Full" and "The Easiest Way" are by Eugene 
Walter. 



38 THE INFLUENCE OF THE DRAMA 

Indeed, practically every play which is written 
as a sermon fails, for, tho we keep urging it, few do 
attend the theatre for instruction; amusement pure 
and simple is what takes us to the theatre as a 
general rule. Oh, to be sure, we do go to see a play 
sometimes that we do not overmuch fancy, say 
Ibsen, but we go because a certain actress is appear- 
ing in the title role and we admire her dramatic 
powers, or we go because at the last meeting of the 
Fortnightly Literary Club the lecturer recommended 
that we see an Ibsen play, and told us something 
about the symbolism it contained; moreover, it 
stamps us as among the initiated to speak of the 
play afterwards, tho we don't care a "darn" about 
the old thing! 

And "The Havoc," Mr. Henry Miller's recent 
vehicle — what useful purpose does it serve in 
showing us that it is possible for a husband to be 
so gallant and thoughtful as to surrender his wife 
to his friend, the "star boarder" — as such people are 
sometimes termed — and himself to become the 
boarder? It is a wonderfully well-written piece, 
so are they all, these doubtful plays. In their 
mastery of the dramatic principle lies their success, 
and that mastery blinds us to their moral faults.* 
Not one of these plays which have been here 
enumerated is anything like as flagrantly indecent 
and outspoken as Mr. G. Bernard Shaw's "Mrs. 
Warren's Profession." Yet it is safe to say Mr. 
Shaw, like Tolstoi, wrote this piece with the 
best of intentions, and for that reason was indignant 
because the London censor prevented its public per- 
formance. But that sort of lesson should be taught 



*"The Havoc" is by H. S. Sheldon. 



THE INFLUENCE OF THE DRAMA 39 

in the privacy of one's home, not on the stage; it 
shocks one's sensibilities needlessly, and such 
lessons are not adapted to teaching before a mixed 
audience and one of various ages and experience in 
life.* To repeat — the theatre is not a medical clinic, 
nor a psychopathic ward; it is a place of amuse- 
ment. Prof. Brander Matthews has said, "The 
populace is often vulgar, but rarely vicious," and 
that well explans why viciousness must be well- 
concealed in a play or it is foredoomed to failure. 

There is an excellent commentary on the Drama 
published as an editorial in a recent number of 
"Everybody's Magazine. "f "Youth is wide-eyed. 
Instantly it suspects that indecency cannot be the 
sporadic, exceptional thing youth has been taught 
to think it. It must be general. Maybe it is uni- 
versal. Maybe everybody is bad. Is purity only 
pretense? Is innocence only unsophistication? Is 
it manhood and womanhood to know and do such 
things? You see what infinite possibilities for 
harm lurk in a bad play, and why we ought to keep 
plays wholesome and helpful. Nothing can be so 
helpful as a good play, just because it does intimate 
the universality of purity and nobility; just because 
it does inspire youth to emulate the best. * * * * If 
America is to keep her proper place, the fathers and 
mothers must have a care of plays and literature 
and their own lives and ideals." 



♦"The main criticism of George Bernard Shaw is that he 
presents the special and the abnormal apparently without 
consciousness of the general and the wholesome. Eddies in 
a stream, as it were, depicted without regard to the force 
and trend of the main current." — Ida Kruse McFarlane, 
Professor of English at the University of Denver, Colorado. 

■{■"Everybody's," October, 1911. 



40 THE INFLUENCE OF THE DftAMA 

In the "New York Dramatic Mirror,"* the lady 
who writes the "Matinee Girl" column of that 
standard paper, made this comment, which is decid- 
edly interesting: "A few plays are epochal in 
their development of the characters portrayed and 
the characters of those who watch the portrayal. 
One of these was 'The Charity Ball,'ff which, seen by 
a young girl I well knew, taught her the unforget- 
able lesson of wide charity, especially to her own 
sex. The next in the spiritual life of this young 
girl was 'The Message from Mars.' No golden- 
tongued preacher ever sent from pulpit such a 
diamond-tipped lesson of humanity as this. The 
next step in the unfolding of the young girl's 
spiritual vision came when she saw 'Leah Klesch- 
na,'|| and Mrs. Fiske illuminated for her the 
uncomprehended truth that anyone may be regener- 
ated, even that most contemptible of minor culprits, 
the thief. 'The Servant in the House'f appeared on 
Broadway, and going in flippant mood, more intent 
upon her new evening coat than the theme, she 
watched the rebuilding of a household on the new 
foundation of finer ideals. Two years ago 'The 
Passing of the Third Floor Back'J taught her how 
near daily commonplace life is to the divine. And 
the last word spoken to her consciousness of growth 
is 'Passers-By'§ teaching in new and absorbing 
guise, the lives of the lesser and lowlier half." 



♦September 27th, 1911. 
ffBelasco and De Mille, Authors. 
||"Leah Kleschna," by C. M. S. McLellan. 
•j-'The Servant in the House," by Charles Rami Kennedy. 
i"The Passing of the Third Floor Back," by Jerome K. 
Jerome. 

§"Passers-By," by C. Haddon Chambers. 



THE INFLUENCE OP THE DRAMA 41 



CHAPTER FOUR 

THE PSYCHOLOGY OP INTERPRETATION 

What is the secret of the hypnotic effect of 
gesture upon the audience? There is a significant 
something which governs gesture, and which 
renders a gesture of one sort appropriate and effec- 
tive in a certain place, whereas a gesture of another 
sort, or even the same gesture in a different place, 
will fail of its effect. This effect of gesture upon 
the "hoi polloi" is uncanny and hypnotic in the 
results which it can produce. 

It is a familiar "trick," as the theatrical profes- 
sion term gestures which the observation of years 
has taught them produce certain definite results 
upon the audience, and which are so ancient in their 
use for this purpose that they have become a part 
of the stock in trade of any experienced player. It 
is a "trick" in Shakespeare, for example, to deliver 
the long orations standing in the centre of the stage, 
and at the conclusion to "take the stage," which, to 
explain the technical parlance, means to walk to 
one corner near the footlights with a dramatic 
stride, then to fold the arms and gaze abstractedly 
into space. Seldom does this movement miss its 
purpose — applause. An audience, possibly because 
of intuition as a result of long experience on the part 
of their progenitors, possibly because there is a 
pause in the dialogue suitable for a demonstration, 
seems to know that this is a proper place to applaud, 
and it seems to feel that they will be falling short in 
their appreciation, and hence there comes a round 
of applause which, with a few of the great trage- 



42 THE INFLUENCE OF THE DRAMA 

dians, may even amount to cheers. The actor 
acknowledges this with a slight inclination of his 
haughty head; if he go beyond this acknowledg- 
ment he will spoil his further effect by stepping too 
much out of the picture. Following up the advan- 
tage gained, the player returns quickly to the centre 
of the stage, with the suggestion in his movement 
of something forgotten, something more to say 
which has just occurred to him as he stood thinking, 
and, just as the applause is dying away, he resumes 
the lengthy speech. The audience is tense in their 
eagerness "to hear the conclusion of the whole 
matter," and the actor holds their attention through 
the remainder of the lengthy narrative, and at its 
termination they are still with him, minds alert and 
approving, ready for another outburst of apprecia- 
tion. Had he not resorted to the old "trick" of 
taking the stage in the middle of this speech, the 
audience would have had opportunity for but one 
round of applause, and that at the very end, and it 
is quite probable that he would then have had a 
very slight demonstration, as the speech was 
lengthy, and the audience had grown weary from 
the intentness demanded by the recitation. 

Another example of the "hypnotic gesture" is 
that of an actress who was playing in a Western 
melodrama. For several weeks she had been re- 
hearsing, and after much experimentation the stage 
director decided that the tableau for the third act 
would be most effective if the old mother held the 
centre of the stage and, upon the concluding line, 
threw her right hand upwards with fingers pointed 
toward the skies as if calling upon the high heavens 
for protection. A quick falling of the curtain 



THE INFLUENCE OF THE DRAMA 43 

accompanied the gesture. Unfortunately, the lady 
playing the role was of uncertain memory, and if 
her mind were at all distracted during the scene she 
would fail of her effect. It happened, therefore, 
that some nights she timed her words wrongly, 
threw in a slight imperfect accentuation of the final 
line, and found it quite impossible to make other 
gesture than a simple folding of her hands upon her 
breast, bowing her chin upon them. What effect 
did these gestures have upon the audience? The 
nights when she made the wrong gesture enthusiasm 
was scarcely sufficient to raise the curtain for the 
tableau which completed the sequence of the scene. 
Other nights, when she read correctly and so 
reached the gesture of the upraised hand, the 
audience went wild in their enthusiasm, and the 
curtain would rise not once, but from three to 
seven times. It was in connection with this gesture 
and its peculiar effect upon audiences observed 
throughout the United States, that I first came to 
use the expressive phrase, "hypnotic gesture." This 
reminiscence is cited to show how very much a 
play depends for its success upon the proper use 
of gesture. The lines may remain the same, but if 
the methods of reading and gesturing be ever so 
slightly varied, the results will likewise vary, and be 
weakened or strengthened as the interpretation be 
more or less true to the author's conceptions of the 
plot.* 



♦Evangelists in revival meetings are accustomed to resort 
to the gesture of the upraised hand which they employ in 
beckoning toward the audience. The congregation, being 
in a state of quiet meditation, assisted by the accompaniment 
of soft music, are in a receptive mood, and ready to welcome 
any suggestion toward a better life. If this suggestion come 



U THE INFLUENCE OF THE DRAMA 

There lies the reason for the success of a play 
upon its initial presentation in New York city, let 
us say, and its subsequent failure when it goes "on 
the road" with a duplicating "Number Two" Com- 
pany. The Number Two Company does not catch 
quite the spirit, there is a tone of voice, a signifi- 
cant look or movement which is lacking, or which, 
having been faithfully copied from the original cast, 
is not quite spontaneous to the present interpreter 
of the role; the little movement which makes the 
original gesture "hypnotic" is lacking, and its power 
has gone with it. An audience is quick to detect 
these things, or, to be accurate, to feel them, for 
very few could tell in just what way the play was 
lacking of success. 

Whilst speaking of this tendency of repeating 
so-called "types" in plays, it is worthy of remark 
that the breakfast scene in that good old reliable 
"East Lynne" is usually played with the hero in 
evening dress, and Lady Isabel in the most decollete 
of gowns! The originators of these world-famous 
characters so dressed the parts, probably because 
the time permitted for changing the attire was brief. 
Because of this precedent, other actors of these parts 
have for generations felt constrained to "go and do 
likewise !" 



as the result of the concentration of many minds anxious for 
the conversion of a sin-sick soul, it will be short lived, the 
impression gradually fading, and the subject returning after 
weeks or months to his old state of existence. If the sugges- 
tion be supplemented by the Holy Spirit, the conversion is 
genuine and eternal. It is our inability to distinguish between 
these two classes of conversions which makes us accredit a 
larger number of persons as converted, and later the sad 
necessity of recording the names of numbers who have passed 
from out the fold of church membership. 



THE INFLUENCE OP THE DRAMA 45 

Shylock in "The Merchant of Venice" had always 
been considered a comedy part, and was entrusted 
to the low comedian of the company with permis- 
sion to "gag" (perpetrate all manner of more or 
less appropriate and coarse witticisms.) David 
Garrick came along and insisted that he could play 
the part as a serious character. After much mis- 
giving, for human nature hestitates at an innova- 
tion lest it meet with failure — at least the human 
nature common to managers is so constituted — the 
manager acquiesced and consented upon a trial 
performance, but with the stipulation that if it did 
not please in its new method of interpretation, the 
old method should be restored. The initial presenta- 
tion was so entirely satisfactory that Shylock has 
never since been considered as a comedy role, but as 
one of the finest acting pathetic parts in the English 
language. But even in these days, there is a differ- 
ence of opinion as to the details of portrayal, and 
one actor will cause us to have a feeling of cordial 
hatred for the old Jew, whilst another, following 
the reading of the late master, Sir Henry Irving, 
than whom there has never been a greater Shylock, 
will make us feel nothing but pity for him in his 
accumulated losses, his ring, his ducats, his daugh- 
ter, his revenge, and, lastly, his religion! 

Was there ever anyone who could sit unmoved 
through that pitiful Trial Scene of the Fourth Act, 
when the poor, broken-hearted old man, reviled and 
hated, crept pathetically toward the door with the 
plea "I am not well," and, just before reaching its 
threshold, fell to the floor in a helpless heap, and 
alone, with no outstretched, friendly hand, sur- 
rounded only by people upon whose faces were writ 



46 THE INFLUENCE OF THE DRAMA 

contempt and scorn, fumbled blindly for a chair, 
and grasping it assisted himself to his feet, drew 
his emaciated form erect, and, with a last supreme 
effort, walked haltingly, but haughtily through the 
courtroom door! And were we ever persuaded in 
our own minds as to what became of the poor old 
Jew after he had left the courtroom behind him? 
Did not Irving's portrayal leave behind in our minds 
the great question-mark with which Ibsen closes the 
door behind Nora in "The Doll's House"? I myself 
have often fancied that Shylock went to his home 
and his room, never again to leave it, his soul and 
body consumed by his thirst for revenge because 
of his natural hatred of the Christian. Would not 
we, too, have desired revenge had we been placed 
in his position, hounded, detested, only endured, 
and all in the name of Christianity — God save the 
mark! — in the name of that Christ, Himself a Jew, 
who was the embodiment of all that was meek, and 
lowly, and loving?* 

To revert to the gesture of the upraised hand and 
make a deduction of why it usually compels ap- 
plause — invariably wins applause when used at the 



*Mr. Robert Mantell in a recent interview (1912) asserted 
such a rendition of the character of Shylock is undoubtedly 
false to the age in which the old money-lender lived, but 
that other and more accurate interpretation would not be 
tolerated by the modern audience. 

Recently our Jewish citizens have protested almost unan- 
imously against the study of "The Merchant of Venice" in 
the Schools, for they claim it is not a truthful nor commend- 
able portrait of the Jewish character, and tends toward the 
propagation of racial hatred. Might not Gentiles join in the 
protest on the ground that the Christian as portrayed in this 
play is just as much detestable? "The Merchant of Venice" 
is an historical picture of the times that it represents, and 
should be preserved in our English courses. 



THE INFLUENCE OF THE DRAMA 47 

crucial point, the climax. It is a gesture indicative 
of intense vitality, a set determination to triumph 
in the face of all obstacles, and so meets the ap- 
proval of the audience. The bowed head and 
clasped hands is a gesture of humility and meek- 
ness, of quiet, resigned acceptance of the conditions, 
and meets with the hearty disapproval of an 
audience at all times when there seems to be possi- 
bility of further action. If it were a case where all 
efforts had been exhausted, the cycle of life com- 
pleted, as where the death-roll has been called in 
"The Only Way" (that beautiful version of Dickens' 
"A Tale of Two Cities") — and the doomed, one by 
one, answer to their names and pass out, some in 
hysteria, dragged from their friends, others resigned, 
meekly arising, and with all their one-time grace 
making a parting courtesy, with a tender smile, 
sweeping across the floor and out through the un- 
barred gateway to their doom — such action meets 
with approval, not by vociferous applause, but by 
silent appreciation of the heroism, and a dropping 
of the curtain on a quiet, hushed audience. 

Can one imagine anything more inappropriate 
than applause in this same drama, when Sydney 
Carton, that noble, self-sacrificing hero, stands upon 
the steps of the guillotine, gazing over the sea of 
upturned faces, blood-thirsting faces, gazing across 
Paris in the direction of old England, whither are 
at that moment escaping his beloved for whom he 
is dying, and says those immortal words, "It is a 
far, far better thing that I do, than I have ever done ; 
it is a far, far better rest that I go to, than I have 
ever known." 



48 THE INFLUENCE OP THE DRAMA 

Again, when Mr. Forbes-Robertson, as The 
Stranger, in that wonderfully impressive play by 
Jerome K. Jerome, "The Passing of the Third Floor 
Back," passes into the streets of London, and the 
ray of light falls through the transom, striking the 
little figure of the poor kitchen drudge, who has 
extended wide her arms in farewell, and casts upon 
the floor the shadow of a cross, would not the pro- 
nouncing of the Benediction be more appropriate 
than a stormy, noisy outbreak of clapping hands? 

While gesture and movement play a very vital 
part in the effective rendering of a character, the 
facial muscles are even more important. It would 
be an interesting study to discuss the moods which 
the human face can reflect. Our successful players 
are all masters in the control of their facial muscles. 
Mme. Eleonora Duse, the great Italian tragedienne, 
has a wonderful ability of regulating the blood-flow 
in her face so that she can become violently red, 
or ashen pale, at will. Because of this mastery she 
eschews all possible artificial make-up which could 
at all interfere with her demonstration of this 
ability. Naturally, such an art is adapted to the 
"intimate" theatre and loses its effectiveness in 
houses of great space. Mme. Sara Bernhardt has 
such control of her facial expression that it is hardly 
necessary to understand the French language to 
follow the meaning of any of her presentations. 
Undoubtedly this wonderful ability to make clear 
her thoughts by her facial expression has helped 
make her world famous, for such language is pecu- 
liar to all men and all times. French pantomimists 
have mastered this difficult art to a remarkable 
degree, and they are not to be blamed for professing 



THE INFLUENCE OF THE DRAMA 49 

to believe that words are not essential for a success- 
ful play. The German players who came from 
Max Reinhardt's famous theatre to New York in 
January, 1912, to present the four-act pantomime 
"Sumurun," demonstrated quite conclusively that 
words are not requisite to such a dramatic revela- 
tion. This particular production has been a 
triumph to those who claim all Drama will eventu- 
ally be pantomime. It was Gordon Craig who once 
announced that actors were a hinderance to the 
growth of the Drama, as they failed to interpret 
accurately the ideas of the author, whilst sil- 
houettes from cardboard are far better because they 
are incapable of assuming any position or attitude 
other than that in which their director has placed 
them!* 

Our own beloved Mrs. Minnie Maddern Fiske is 
able to convey a wealth of meaning by her facial play 
which mirrors the thoughts passing through her 
mind ; Mrs. Leslie Carter is another American actress 
with this same wonderful ability. There are other 
actresses whose sole asset is an ability always to 
look innocent and young, and who never attempt 
parts requiring other facial expression. 

Our actors who have remarkable control of 
feature are few in comparison with our women 
players. Perhaps this is because in modern days 
the passions permitted to a man are of less wide 
scope than those permitted to a woman. It is almost 
impossible to make the tears of a man serious to a 



♦Edward Gordon Craig "On the Art of the Theatre," 
issued through Browne's Bookstore, Chicago. See Page 81 
of Essay "The Uber-Marionette." The entire essay is well 
worth careful reading and studying; so is this entire book of 
inspiring essays. 



50 THE INFLUENCE OF THE DRAMA 

modern audience. Self-control of feeling is what 
we demand of our modern heroes. Players of 
Shakespeare and the classics are permitted far 
greater latitude, and hence we find our representa- 
tives of male emotionalism in this class — the late 
Richard Mansfield, the present E. H. Sothern, Robert 
Mantell, Otis Skinner. Mr. Forbes-Robertson has a 
wonderful facial control; his interpretation of The 
Stranger rests largely upon his ability to reflect on 
his countenance the passing mental mood. All 
players must have this ability to some extent to be 
at all successful in their calling, but some have it 
to a greater extent, and more particularly in especial 
parts. 

Does the actor feel the part he is enacting, is an 
oft-discussed question, and seems to find various 
answers. Probably the nearest correct answer is 
this : An actor must be so interested in the part en- 
trusted to him that all his emotions are stirred the 
first few times he reads it over. But in life we become 
calloused to the most poignant of grief, else could not 
the physician, the nurse, the undertaker pursue their 
vocations. Occasionally one may see an entire com- 
pany so stirred by a scene which they are rehearsing 
that their eyes are blinded with tears, and the 
reading of the parts is halting and broken. When 
a farce is in rehearsal the company may be in 
paroxysms of enjoyment the same as the man in the 
chair who is witnessing the performance for the 
first time.* But much repetition deadens the senses 



♦Among members of the dramatic profession it is con- 
sidered unlucky for a farce to produce overmuch merriment 
at the rehearsals. 



THE INFLUENCE OF THE DRAMA 51 

to the sharpness of the drawing, and eventually the 
performance is given automatically, the player 
standing off, as it were, and directing with skill the 
movement of his own automaton. The picture is 
no less true to the eye than when it was prompted 
solely by emotion, but it is now a picture of the 
emotion which was at first poignantly felt. 

There will be nights when the physical or mental 
condition of the player is such that the old emotion 
will be stirring at his heart-chords, and then he will 
give a more masterly performance, one charged with 
a magnetism which is quite irresistible. But if he 
were to allow his emotions to get beyond his control, 
the effect would be fatal. Acting consists in touch- 
ing up the reflection in the mirror of nature just 
sufficiently to heighten the coloring and make it 
appear as realism when viewed across the spaces 
of the auditorium.* To weep real tears is not a 
sign of the greatest art. It is realism simply. The 
actress who simulates tears is more capable of 
swaying her audience by the throes of her emotion. 
If an actor were nightly to pass through the actual 
agonies of the character he impersonated he would 
soon be a subject for a mad-house! However, one's 
nerves are so shaken by these performances, that it 
takes some little time, from an hour to a whole night, 
to recover completely one's normal poise. That 
will account for the many cases of nervous break- 
down which occur among persons following the 
actor's profession. 

There are players who can step from a pleasant 
conversation with some friends in the dressing- 



*The stage is an epitome, a bettered likeness of the 
world, with the dull part left out."-— Hazlitt. 



52 THE INFLUENCE OF THE DRAMA 

room to a wild scene of stormy passion on the stage. 
But most of our great players find that they must 
have a few moments of preparation for the coming 
scene, a few moments of uninterruption in which 
to think themselves into the necessary mood. Some 
of the great players of the past were wont to swear 
to themselves, storm about the dressing-room, shake 
chairs, and do other absurd acts to better help them- 
selves attain the wrathy feeling requisite for a 
perfect rendition of a particular scene.* Today, 
most players can sit or stand quietly, outwardly 
calm, and stir up within their breasts a whirlwind of 
passion which will thrill the audience a few 
moments later when it is revealed in all its awful- 
ness. 

One thing more is necessary if one is to rise to 
the heights in the dramatic calling, and that is 
"magnetism." What that mysterious quality is, no 
one can answer. It is a power bestowed upon any 
person who is genuinely successful in life, be he 
the business man, the tradesman, the clergyman, or 
the actor. Without it none can rise to ascendancy. 
Having reached the heights, the player lives in dread 
lest that divine gift be taken from him. A 
long period of sickness, much mental worry, dissi- 
pation, too many social functions, too much contact 
with other human beings, all these things can and 
do steal away magnetism. It may return after a 
period of mental and physical rest and recuperation, 
or it may have gone forever. When it does finally 
depart, the last curtain has fallen for all time, for 
never again can one hope to hold the old-time place 



*See George Henry Lewes, "On Actors and the Art of 
Acting," chapter 10, entitled "On Natural Acting." 



THE INFLUENCE OF THE DRAMA 53 

on the pinnacle of fame. We often wonder why 
certain great people have suddenly decided to go 
into retirement when they have just succeeded in 
establishing themselves in the affections of the pub- 
lic, and life and its triumphs lie wide before them; 
it may be safely ventured that they have had a pre- 
monition that their magnetism was about to vanish, 
and they preferred leaving the public view before 
that ignominy had befallen them, and at a time 
when nothing but a beautiful, roseate memory would 
remain in the hearts of their adoring public. 
Retiring in time, they have been able to preserve 
their magnetism, and so they remain charming to 
us when at rare intervals they reveal themselves 
and their art. It is a far, far better way than to 
remain as some favorites dimmed by the younger 
generation, all their powers gone, decrepit, feeble, 
pitiful specters of desolation, the ruins of a vanished 
art! * 

CHAPTER FIVE 

PANTOMIME AND THE DANCE, AND THEIR PLACES IN 
THE DRAMA 

Earlier in this discussion we have seen that the 
Drama probably had its inception in the dance, was 
elaborated into pantomime, and that then came the 
spoken word. There are persons today who profess 
to believe that the wheel is revolving and we are 



*For a masterly conceived essay on "The Nature of the 
Emotions of the Drama," the reader is referred to Chapter 8, 
Page 229, of "The Psychology of Beauty," by Ethel D. Puffer, 
published by Houghton Mifflin Co., 1905. 



54 'THE INFLUENCE OF THE DRAMA 

rapidly approaching the beginnings, and that 
pantomimic dancing will eventually have supplant- 
ed the spoken Drama. 

Mme. Pilar Morin in "L'Enfant Prodigue" suc- 
ceeded in making pantomime intelligible even in 
that play of most severe requirement, expressing as 
it does so many phases of emotion. "Orange 
Blossoms," which was presented by her about the 
same time — a score of years ago — was a pantomime 
unworthy of her art, resting upon suggestiveness 
for success. Its impropriety was such that it was 
speedily suppressed and has not been repeated since 
except in crude imitations by vulgar burlesque 
shows. It has always been regretful that so finished 
an artiste should have lent herself to such a produc- 
tion, but Mme. Morin is French and her outlook 
upon life is of necessity different from that of the 
modern American. I seem to be dwelling upon this 
one artiste, but aside from her I am unable to recall 
any true pantomimist who has been among us.* 
There have been many lightning-change artists, and 
foreign vaudeville performers who have presented 
a sort of pantomime, but their work has not achieved 
sufficient prominence to call for comment. Mile. 
Anna Pavlowa and M. Mordkin are dancers first 
and foremost, and, tho skilled in pantomime, that 
is secondary to their terpsichorean art. 



*The late George Fox will be familiar to many of the 
older generation as a pantomimist. He made fame and 
fortune in a piece called "Humpty Dumpty." Mr. Fox went 
insane, and the grimaces which were so humorous to our 
ancestors were the result of a disordered brain. His managers 
conducted him in tours over the country long after he should 
have been consigned to the privacy of a sanitarium. 



THE INFLUENCE OF THE DRAMA 55 

The form of pantomime which is familiar to the 
average person is that of the Moving Picture. When 
a modern American thinks of pantomime, he usually 
thinks of the Moving Picture. Yet that is hardly a 
correct criterion for judgment of this difficult art. 
Because it is a picture, it is possible to have innumer- 
able scenic backgrounds, numerous characters, 
things which could not so well exist within the 
proscenium of the theatre, but which make a 
clearer story. Yet few, if any, of these pictures 
are really self-explanatory. There is a slide with 
reading-matter explaining what is to follow, and 
frequently going into detail as to the motive 
which prompts the act w T e are to witness. We 
rely quite as much upon this explanation pre- 
ceeding as upon our comprehension of panto- 
mime; indeed, the more elaborate pictures would 
not convey any especial meaning to the average 
auditor without these descriptive passages. Such 
wonderfully staged pictures as "The Crusaders" and 
the Cantos of Dante's "Inferno" are accompanied by 
a lecture, and without such accompaniment they 
would be but mere spectacle to those who were not 
familiar with the verses of Tasso or Dante. Even 
with this lecture there are moments when one is 
uncertain as to the motive prompting an act, or just 
what episode is being enacted before the vision. 

It is customary in the acted pantomime to have 
an "Argument of the Play" printed upon the pro- 
gram just as is done when Opera is sung in other 
than the vernacular. From these printed explana- 
tions, one is led to suppose that even the presentors 
of pantomime, in spite of their stalwart denial, 



56 THE INFLUENCE OF THE DRAMA 

know that the average mind will not grasp the plot 
correctly without such elucidation of the story.* 

"Punch and Judy" is more or less of a pan- 
tomime, but it is usually quite clear to our minds 
because from childhood it has been repeated to us 
and explained. How seldom in the present age do 
we see this diversion, introduced from Italy, the 
home of pantomime, and without which no country 
fair was ever quite complete! More elaborate 
forms of furnishing amusement are taking the place 
of these simpler diversions. It is a pity that the 
children of this generation are not led by degrees 
to the more elaborate forms of amusement as older 
people have been! How much pleasanter to enjoy 
the "Punch and Judy" show, the cardboard actors 
in the toy theatre, some tableaux at a Sunday School 



*A little anecdote recalls itself to mind apropos of the 
contention that pantomime is self-explanatory. A professor 
and a clergyman had for long debated the question, and 
finally resolved to put it to a test. The professor was to 
convey to the clergyman some simple thought, then each was 
to commit the idea to writing, and compare the memoranda. 
The professor selected a large red apple, passed his hand 
over and about it, indicated two other apples on the plate, 
placed his at one side and pointed at the selected apple with 
pleasure, then he ate it, chewing slowly and deliberately, and 
constantly smiling in ecstasy; then he clapped his hands in 
sign of pleasurable satisfaction. Both wrote their ideas as 
agreed. The professor intended to convey the thought that 
there are three planets — the sun, the moon, the earth; the 
earth is round and beautiful, and from the earth spring the 
fruits such as the fine apple, and by eating of them men 
receive pleasure and benefit. To the clergyman the idea was 
equally plain, and resolved itself along his own trend of 
mental training to this: There are Three Spirits in the God- 
head, and One of those Spirits came down to earth and was 
Christ the Redeemer who made a vicarious sacrifice of Him- 
self for the redemption of sinful man. To us has been left 
the Sacrament of Holy Communion, and when we partake of 
it we are filled with spiritual pleasure and ecstasy. 



THE INFLUENCE OF THE DRAMA 57 

entertainment, a little play with a Santa Claus at 
Christmas, and come gradually to the moving pic- 
ture and finally to the spoken Drama. Such 
method of instruction better fits a person for a com- 
plete enjoyment and a better comprehension of the 
Drama. By this process of development one has 
unconsciously learned to understand the commoner 
attributes of pantomime — the gesture, the pose, the 
facial expression — and finally the spoken word 
comes naturally to fill in the vacancies which have 
been left. Later, if we be musically inclined, we 
can add the orchestra, and we have arrived at the 
final step in the development of the dramatic art, 
Grand Opera; and after this preliminary, normal 
training, we are in a position for its full enjoyment, 
and will not be among those who come languidly 
in from a protracted dinner, chat awhile, realize the 
second act is in progress, wonder what it is about, 
yawn, clap our hands a very little when the evening's 
bright particular star sings her cadenza, put on our 
wraps, and leave immediately the curtain rises for 
the concluding act! 

More genuine appreciation of the Drama and 
music will be found in the topmost galleries than in 
all the glittering horse-shoe of the boxes ! The little 
Italian bootblack on the corner may have a better 
appreciation of favorite Grand Opera arias, than the 
young lady who has had a course of finishing at 
some young ladies' school in Paris or Berlin. I love 
to listen to these gamins of the street whistling quite 
accurately some of those beautiful selections of 
Opera, and I marvel that they should be able to enjoy 
them, whilst our own school boys and girls, with 
far, far greater opportunities, with greater aspira- 



58 THE INFLUENCE OP THE DEAMA 

tions in life — let us hope — are shouting the senseless 
words of the latest popular song devoid of true 
music. 

The last simple form of pantomime is to be 
found in the marionette booth of Italy. Whoever 
has not had the courage to sit in a stifling atmos- 
phere reeking of stale tobacco, fumes of liquors, 
and odors of garlic, knows nothing of the intense 
enjoyment of these simple peasant people when 
watching the struggles of their favorite Marionettes. 
The story of "Sancho Panza" is one of the most 
popular — tho it may not be called by quite that name. 
It is so familiar that no spoken words are required 
for its appreciation. There are other plays with 
words spoken by the men and women who manipu- 
late the wires from which the puppets dangle.* 
There is a stock collection of puppets, and by their 
costumes ye shall know them — if you have been 
used to seeing these harmless diversions from your 
childhood days. It is a pleasure to know there are 
people today with minds sufficiently simple to enjoy 
so unpretentious a form of amusement as the Puppet 
Booth offers. Its very simplicity, its independence 
of the whims of living actors, its need of but small 
financial return to keep open its doors, all make it 
possible for it to exist in almost every town and 
hamlet of sunny Italy. Is it any wonder that in 
Italy the pantomime presented by living persons is 
popular and quite easy of comprehension to the 
Italian spectator? 



*In the several Marionette Theatres located in the 
Italian Colonies of New York city, the people are fond of 
dramas based upon "I Reali di Francia," "Orlando" of Aristo- 
or of Bojardo, and "Morgante" of Pulci. 



THE INFLUENCE OF THE DRAMA 59 

Some years ago Miss Ellen Terry's son, Edward 
Gordon Craig, took up his residence in beautiful 
Florence, that centre of art and of artistic endeavor. 
Mr. Craig was imbued with the right spirit, and 
that caused him to seek men of his kind who have 
colonized in the City on the Arno. Mr. Craig has a 
small amphitheatre where he presents his most 
advanced ideas before select audiences. He presents 
whole plays with wooden silhouette figures painted 
white and shaded in black. The scenery is hardly 
more than so many grayish screens which are 
capable of assuming any desired angle; the fore- 
grounds are built up with blocks. Footlights are 
dispensed with, and the illumination falls from one 
point, as in nature. There are wonderful depths 
and shadows. Mr. Beerbohm Tree's recent produc- 
tion of "Macbeth" copied in part the scenic sketches 
of Mr. Craig, and those particular scenes were the 
most effective. Think what glorious groupings, 
what gorgeous splashes of color can be created 
against a background of grey and shadows! Can 
one well imagine a setting more impressive for 
"Macbeth?" Doesn't the idea of coldness, greyness, 
shadow, suggest at once the physiological con- 
ditions conducive to crime? The rise of the cur- 
tain ushers one immediately into the atmosphere of 
frozen horror of that weird play. 

Many years ago, I saw the late Sir Henry Irving 
in "The Bells." Mr. Irving was then somewhat 
influenced by the artistic ideas of Miss Terry's re- 
markable son, and in the set used for the betrothal 
scene, there were, across the rear of the stage, a series 
of long, low casement-windows, and the only illu- 
mination of the stage came from a reflected light 



60 THE INFLUENCE OF THE DRAMA 

thrown against the painted background at the rear 
of the stage and refracted through these casement- 
windows. It was absolutely natural, but it had the 
drawback of making the visages of the actors almost 
entirely obscured. In the Dream Scene of this same 
play, the light was thrown downward from an arc 
above the stage, and this gave a peculiar effect, also. 
I admired passionately this naturalness of illumina- 
tion, but I must confess was not completely won by 
it, when I saw the stage peopled by players outlined 
in silhouette.* An illumination from a side window 
does not present so great an obstacle. Sir Henry 
had another method of lighting which was rather 
commendable ; he was accustomed to tone down the 
footlights from centre to either end, thus bringing 
the greatest illumination to the centre of the stage, 
and the least at the corners, as is customary when 
a room is illuminated by natural rays from the sun. 
We have come to accept the footlights as a matter 
of course, just as we shall always have to accept 
the absence of the fourth wall as a matter of course. 
The recent presentation of "Macbeth" by Mme. 
Maeterlinck at their beautiful Normandy Castle, be- 
fore a special audience of fifty persons who followed 
the action from room to room as the play progressed, 



*In a recent interview, Mr. George S. Swartz, the Shakes- 
pearian exponent and scholar who resides in Denver, Colo- 
rado, expressed a new idea in regard to stage lighting. Mr. 
Swartz contends that lights should show the mood of the 
character, rather than the time of day! Thus, in the famous 
"To be or not to be" — Soliloquy of "Hamlet," Hamlet should 
be enveloped in a greenish light, as he was in a green mood 
of melancholy bordering on insanity. In the scene in "Rich- 
ard Third" where Richard awakes just before the battle and 
after his fearful dream, he is bathed in red, indicating the 
blood-thirsty frame of mind of Richard. 



THE INFLUENCE OP THE DRAMA 61 

did not succeed in doing away with the fourth wall, 
for the audience were seated on chairs and benches 
facing the portion of the room set aside as "stage." 

I suppose it was Miss Lydia Thompson's London 
Beauties, about fifty in number, who really intro- 
duced the ballet as we best know it into the United 
States. They danced in skirts of tulle and wore 
pink tights, and the simple people of New York were 
duly scandalized. Everyone went to see them, tho 
few were sufficiently bold as to admit having been 
to Niblo's Garden, where the affair took place. "The 
Black Crook" was the extravaganza — we would now 
call it a "musical show" — in which this sportive 
troupe of blonde females figured. My, how we have 
progressed since those days! "The Black Crook" 
has come to be thought so harmless that I recall 
seeing children giving the production in miniature, 
with a condensed version of the text, to use on the 
stage of a toy theatre! What would our staid old 
great-grandparents have said at this sign of utter 
depravity!* 

At a later date the Kiralfy Brothers introduced 
from abroad their gorgeous pantomimic ballets. 
"Discovery of America," at the World's Columbian 
Exposition held in Chicago, 1893; "Destruction of 
Pompeii," "Venice," and "The Fall of Rome," given 
at Manhattan Beach, New York city, in connection 
with Paine's Fireworks; "Constantinople," at the 
Pan-American Exposition held in Buffalo, 1900; 
"Nero and the Burning of Rome," in connection 
with Barnum and Bailey's Circus; and "Field of the 



♦An old woman was onced asked if she believed in total 
depravity. She replied, "Yes, sir, it is all right, if only you 
could live up to it!" — Anonymous. 



62 THE INFLUENCE OF THE DRAMA 

Cloth of Gold," as a divertissement and pageant with 
Ringling Brothers circus. As many as 500 girls 
were at times engaged in the big numbers of these 
ballets, and to this moment I do not believe they have 
ever been surpassed in gorgeous beauty. The New 
York Hippodrome is famed for its spectacular ballets 
which are modelled after those first composed by 
the Kiralfy Brothers, but they are no more gorgeous, 
and no better danced. To be sure, solo work was 
not conspicuous in the circus productions, for the 
simple reasons that the tan-bark and sawdust were 
not conducive to the higher forms of the dance; 
but occasionally there were group-dances executed 
upon the wooden floors laid in the centre of the 
arena for just such purposes. These ballets de- 
pended for their effectiveness chiefly upon numbers, 
simple steps, elaborate and intricate weavings and 
groupings, and a gorgeous, glittering of brilliantly 
scintillating costume. The scenes of these ballets, 
in all their gorgeous detail, picture themselves in 
my mind after these twenty or twenty-five years as 
brightly as when I first beheld them, and I could 
almost go back and reproduce the general effect of 
any one of them. There is no recollection of im- 
modesty to taint the delightful memory which 
remains. Of how many modern productions can 
we say as much? 

Ballet finally died, for about that time came 
Miss Lottie Collins with her famous song "Ta-rah- 
rah-boom-de-aye," and that kick which made her 
famous. Close upon her heels came Cissie Fitz- 
gerald, with her naughty wink and toe, that strove 
to accelerate the orbits in their course around the 
sun. At first it was considered rather improper to 



THE INFLUENCE OF THE DRAMA 63 

see these ladies in their gymnastic contortions called 
"dancing," but soon they had established their pecu- 
liar type of the dance — just as Lydia Thompson did 
hers — and a whole hot-house of high-kicking plants 
was distributed among us! Every farce seemed to 
need such a dancer between the acts, and almost 
any farce was a money-maker if it could present a 
woman a trifle more daring in the improper 
management of her feet than some other so-styled 
"artiste" before the public. At first these ladies 
wore skirts of decorous length, and well-filled with 
furbelows of lace, but gradually they grew more 
daring, the public more accustomed to their caper- 
ings, the furbelows and skirts were shortened, until 
now we sit quite unmoved by the scantiest of skirts. 
The ballet of the modern musical show is the out- 
growth of this form of dancing introduced by Miss 
Collins and her ilk. 

But the public soon wearies of the most tabasco 
of performances, and a sauce with new and more 
piquant flavor must be prepared for it. Now it 
chanced that a Sunday School teacher in the "Wild 
and Woolly West," out from which have come so 
many sensations in the theatrical firmament, pur- 
chased some yards of China silk, and whilst draping 
it upon her figure before the mirror in the privacy 
of her "bedroom" — she would not allude to it as her 
"boudoir" — discovered that the silk would float 
beautifully. Silk of so filmy a texture had not been 
commonly imported from China many years before 
that day — at least the price of that imported placed 
it far above the reach of the modest pocket-book of 
a district school teacher. She swayed her arms, the 
silk waved prettily. She tried some steps she had 



64 THE INFLUENCE OF THE DRAMA 

learned at the weekly dancing class. Presto! A 
new dance is devised! The quietness of her home 
is left behind, and Miss La Loie Fuller steps before 
the footlights with her beautiful Butterfly Dance, 
the Serpentine, which instantly became the rage, 
and was copied by thousands, even by the child in 
the Sunday School entertainment. It had a great 
commendation, it was modest in the extreme, ana 
Miss Fuller deserves our heartiest encomiums for 
bringing so refreshing a change to the bedraggled 
boards of our oft-trodden stage. From this dance 
Miss Fuller developed her Fire Dance, in which she 
stood upon a sheet of plate-glass whilst colored 
lights were thrown from beneath, and bits of rain- 
bow-shaded silk waved upward from the breezes of 
an electric fan. The dance became less modest, and 
finally was hardly a shade superior to some of the 
shocking exhibitions which have oft greeted our 
eyes under the plea of "high art." 

Somewhere, about this time, slipped in a rival, 
adopted from the Orient, a vulgar contortion execut- 
ed in harem attire. The doors of the Columbian Ex- 
position in Chicago, 1893, opened to admit this form 
of the Dance. It was shocking then, and it has re- 
mained shocking ever since, and never has succeed- 
ed in establishing itself in polite society, as have done 
so many of its predecessors. Had this dance had 
the least real beauty about it, probably it would 
have eventually become an honored guest; but 
it had nothing to recommend it, and was simply 
nauseating to the normal mind. 

We had exhausted all countries in our search for 
a dance which should be new, so Miss Ruth St, Denis 



THE INFLUENCE OF THE DRAMA 65 

and Miss Isadora Duncan hied themselves to the 
Orient, thinking there must be dances which were 
esthetic, in so much as Buddha and his doctrines, 
Brahm, Babb, and the rest of those esoteric religions 
were so appealing, so uplifting, so much superior 
to our own beautiful worship! And out from In- 
dia came the Snake Dance, and a score of other 
wiggles and wriggles, wild gyrations, copied from 
the frantic antics of frenzied priests. Instantly it 
became a fad to go and see some of these gyrations 
and read into them some sublime, hidden meaning; 
to get some uplift of the soul ; to gaze upon the form 
divine in its natural loveliness, hidden only in spots 
by glittering jewels. It was heavenly! But was it? 
Did any of its devotees ever believe half the trash 
they sighed about the beauties of these dances? Did 
they ever enjoy that transport of soul which they 
tried to make themselves believe they did? Time 
has sufficiently elapsed that we can look back calm- 
ly upon our foolish notions, as adults do upon their 
childhoods, and see just what "precieuses ridicules" 
we made of ourselves. Well, each generation has 
done the same, and our succeeding generations will 
be just as ridiculous in their turn, so let's close that 
chapter of our foolish history and think no more 
of it. 

But the next page we turn in this History of 
the Dance, brings a phase almost as startling, altho 
less vulgar, — it is the epoch of the so-called "bare- 
foot dancers." So far as I can learn, Miss Duncan 
was the originator of this style of esthetic expression 
as seen in its later development, and founded a 
school in Berlin to instruct her acolytes in this ap- 



66 THE INFLUENCE OP THE DRAMA 

pealing form of poetical exaltation.* The dancer 
arrayed herself in a kirtle to the knees, something 
of soft, filmy texture, a pearly grey or creamish white 
tone, did her hair in a Psyche-knot, and altogether 
looked as though she might have just stepped from 
the bas-relief on some Etruscan vase. Where pos- 
sible a drapery was used of soft woolens or velvets 
to form a background, and either black or dove grey 
was the tone. The stage was carpeted with the 
same material. Mendelsohn's "Spring Song" was 
worked overtime by these interpreters of the melody. 
To the opening strains the curtain slowly arose dis- 
closing a bare stage flooded with a softly tinted light 
of pink. Suddenly the draperies at the rear parted, 
and the dancer stepped forth, timid, hesitant, remin- 
iscent of a Maxfield Parish wood nymph. She ran 
lightly across the stage, twirled around, gestured 
gracefully, fluttered back, twirled again, and so the 
dance proceeded to a close. At other times the 
Spirit of the Seasons would be interpreted, the dan- 
cer arising slowly from beneath a rug, typical of the 
birth of Springtime, a few wild, care-free steps fol- 
lowing, and the dancer scattering on all sides petals 
of apple-blossom or cherry. Summer would then 
come and the steps would be warm, passionate, and 
flowers would be tossed hither and thither, and so 
until Fall in somber browns and golden yellows, with 
branches of Autumn foliage to wave about, then a 

*While Miss Maude Allan, an American girl, was prob- 
ably the forerunner of these classic dancers, her art stopped 
short in its completion, and was taken up and expanded by 
Miss Isadora Duncan, Miss Ruth St. Denis and others. Miss 
Allan was not the trained dancer, and probably was restricted 
in her expression for that reason. Her interpretations of 
"The Spring Song" of Mendelsohn, and "The Funeral March" 
of Chopin, have never been surpassed, 



THE INFLUENCE OF THE DRAMA 67 

running, rustling, as tho the dancer were being 
blown by the October winds. Lastly, Winter, cold, 
grey, feeble, ending in some tottering steps, a faint- 
ing, falling to the stage, the rug drawn over her pros- 
trate figure, and the Seasons have run their gamut, 
and are dead. Truly, this dancing was much more 
ideal, and did render the mood of the musician more 
than did the Oriental gyrations.* 

To Miss Gertrude Hoffmann must be awarded the 
palm among American danseuse for the most artistic 
renditions of this type of the dance. Her imitation 
of Miss Maude Allan doing the "Spring Song" was 
perfection. The stage was hung in pearly greys, 
the dancers arrayed in pinkish tunics. Miss Hoff- 
mann would drive a train of nymphs about the 
stage, grasping in her hands garlands of pink roses. 
Then a huge gilt basket of pink roses would be 
placed in the centre of the stage, a maid posed full- 
length at either side of the basket, and the nymphs 
would run toward it, leaping the handle as wild doe 
might an obstructing tree-trunk or hedge-row. The 
execution was filled with grace, was of exquisite 
taste, and devoid of all traces of vulgarity or sugges- 
tiveness. One sat enraptured and sighed when it 
was ended. Recently, Miss Hoffmann has restaged 
this dance, using an unusually beautifully painted 
scene of a forest in early foliage. The curtain rises 
to disclose the nymph swinging wildly from a loop 



♦"The new art is always formed out of the old. Not 
imitation, but creation, is the aim. In landscapes the painter 
should give the suggestion of a fairer creation than we know. 
The details, the prose of nature he should omit to give us 
only the spirit and splendor. In a portrait he must inscribe 
the character and not the features." — Ralph Waldo Emerson, 
"Essay on Art." 



68 THE INFLUENCE OF THE DRAMA 

of a tree, her draperies and blonde hair fluttering in 
the breezes. An Apollo leaps in and begins to swing 
her more violently. Other nymphs appear from 
around the trees, a wild dance follows to the Pan- 
pipes of a Satyr, and the final tableau on the wildly 
dancing circle of figures is an exact reproduction 
from a Maxfield Parish picture. This latter dance 
will linger long as a thing of real beauty, yet its 
brilliancy cannot dim the more quiet staging of the 
"Spring Song" as first outlined. 

And now, enter the Russians ! Perhaps it is be- 
cause I am living in their age that I, too, fall down 
with the rest of the throng and worship on their 
shrine. It seems, tho, as if they elevate the Dance, 
and give us a new viewpoint which is altogether 
lovely and entrancing. Ballet had fallen into disuse 
at the Metropolitan Opera House, New York city, 
except as occasionally necessary during the course 
of an Opera. There had ceased to be any exponents 
of the good old form of ballet-dancing. In the sea- 
son of 1909-1910, the Metropolitan management 
brought to New York Mile. Anna Pavlowa and M. 
Mikail Mordkin, Russians from the Imperial Opera 
House at Moscow. The announcement of their en- 
gagement did not make much impression upon the 
Opera patrons, but after their first appearance, they 
instantly became the rage, and the public could not 
seem to get enough of them. Pantomimic ballets 
which had long been shelved, were dragged forth to 
exhibit these artists to the best advantage. 

I first saw them in the ballet "Goppelia," and I 
shall never forget the impression left upon my 
mind by this wonderful revelation of pantomimic 
dance. Mile. Adeline Genee had charmed for 



THE INFLUENCE OF THE DRAMA 69 

several seasons previously with her beautiful 
dancing; she seemed like a thistledown blown in the 
breeze. But Mile. Pavlowa was even lighter on her 
feet, and scarcely seemed to touch the stage as she 
bounded hither and thither and twirled upon her 
toes. M. Mordkin was her fitting companion. 
Lithe, clean-limbed, athletic of figure, he was as 
heroic in personal appearance as some classic god. 
These dancers were fitting complements of each 
other. Their early dances were absolutely devoid 
of vulgarity, and any personal contact during the 
progress of a dance was free from all grossness. 
They returned to America the following season and 
made a tour in various ballets, including "The 
Arabian Nights" arranged by M. Mordkin. Their 
dancing was just as entrancing and as commendable 
when seen again, and these artists have established 
themselves in the hearts of the American people, 
and made a permanent place for themselves in the 
history of the development of the Dance. Since then 
various other dancers have come from Russia to 
amuse us, and to secure the American dollar, but 
none of them have been so graceful and so accom- 
plished as those first-comers from that land of the 
sleigh-bell and the polar-bear.* 

Witnessing- the wonderful success of the Rus- 
sians, both in their czardas and traditional ballets, 
Miss Hoffmann, to whom allusion was made a few 
paragraphs back, brought over a troupe of Russian 



*'The time has come when people must look upon dances 
as something else than outlets for romping pleasure. Dances 
should express the history of our civilization. The Dance is 
the universal language." — M. Mikail Mordkin in an interview 
given in January, 1912, whilst he was filling an engagement 
at the Winter Garden, New York city. 



10 THE INFLUENCE OF THE DRAMA 

imperial dancers, and staged some brilliant pan- 
tomimic ballets of her own composition. Miss Hoff- 
mann is always prodigal with her wealth of gorge- 
ous colorings, and succeeded in catching all the sen- 
sual abandon of the Oriental atmosphere. "Cleo- 
patra" was entrancing in scenic environment, and 
the atmosphere was the passionate atmosphere of old 
Egypt. But it went to such extremes of coarseness 
and vulgarity that it was nauseating, and one lost 
the charm. "Les Sylphides" proved to be an old- 
fashioned ballet of the period of the white tarlatan 
skirts, and was refreshingly clean and wholesome. 
To the new staging of the "Spring Song," I have 
already made extensive allusion. The other ballets 
presented, dealt with Tales from the Arabian Nights, 
and whilst well-danced, and showing much ability 
in staging and grouping, and considerable novelty 
in movement, they were too gross to be pleasing to 
the average individual. Miss Hoffmann has so much 
talent it seems a great pity she should so prostitute 
her art to please the few in her audiences. 

All these recent ballets tell a clear story in pan- 
tomime set to music. There is little requirement 
for guessing at the intent of the dancer or the mood 
which is being expressed. The ballet is written 
with a definite story, and it is told concisely and 
dramatically. The dullest spectator cannot fail to 
comprehend what is being unfolded before his eyes. 
All of these leaders among the exponents of the 
Russian form of dancing, would make successful 
dramatic players. Their control over the pan- 
tomimic symbolism is marvelous. They have the 
advantage over the player in that their language is 
universally understood, and hence their art is world- 
wide in demonstration and appreciation. 



THE INFLUENCE OF THE DRAMA 71 

Just what will be the next step in the progress 
of the art of dancing it is impossible to predict. It 
does not seem likely, however, that the art of the 
Russian ballet has been exhausted. Doubtless the 
form will be elaborated until but one consecutive 
story will be told in the evening. It is not at all 
improbable that the public may come to an appre- 
ciation of pantomime pure and simple, until we 
have the fulfillment of the prophecies of those who 
are simply pantomimists and regard as unnecessary 
the spoken word.* 



*Since this chapter was completed, New York city and 
Chicago have had the pleasure of seeing Frederick Freska's 
wordless play, "Sumurun," presented at the Casino, New York 
city, January 16th, 1912, by Prof. Max Reinhardt's German 
players. It is in nine scenes and bears out all the claims 
of the pantomimists. It is a fine production, and at all 
moments intelligible to the audience. The music is by Victor 
Hollaender and invaluable to the illumination of the mood of 
the players. The staging follows the very latest ideas of 
Gordon Craig, for Germany was the first country to sieze 
upon Mr. Craig's ideas of stage-lighting and scenic construc- 
tion. It has only been extremely recently that England has 
been willing to accept Mr. Craig, and at this writing London 
is most enthusiastic over the beauties which can be obtained 
by his simple means. "Sumurun" has never been committed 
to writing. Its author brought to Herr Reinhardt a short 
Scenario of the story, and it was accepted on the spot, a 
company engaged, and the production built up at rehearsals 
which covered six hours a day for a period of a month. The 
music, also, was composed at a piano during the progress of 
the acting out of the pantomime. London has had an oppor- 
tunity to admire a new staging of "Oedipus Rex," when the 
arena is filled with thousands of waving hands barely seen 
through the twilight. Dr. Karl Vollmoller's "The Miracle," 
with incidental music by Humperdinck, was also revealed 
at the Olympia, London, and enthusiastically received by 
press, pulpit, and laiety. 

The student is referred to "Dancing and Dancers of To- 
day," Caroline and Chas. H. Cafnn, published by Dodd, Mead 
& Co., New York, October, 1912. 



72 THE INFLUENCE OF THE DRAMA 
CHAPTER SIX 

THE LIFE OF A PLAY 

There does not live anyone who can satisfactorily 
explain upon just what conditions the life of a play 
depends. There are several good, old-fashioned 
dramas which have for many decades weathered 
the storms of dramatic adversity, and are still sub- 
stantial craft. Probably no one of them can be held 
up as a model of dramatic technique. The first is 
"Uncle Tom's Cabin," dramatized by a score of hack- 
writers from that novel with a purpose by Mrs. 
Harriet Beecher Stowe. At the present writing Stet- 
son seems to have a monopoly of this old, reliable 
piece, and many of his companies are presenting it, 
some in "Operie Houses," some on Mississippi river- 
boats, but more under tent as if it were a three- 
ringed circus.* There have been times when the 
Uncle Toms have been several in number, and the 
little Evas have become twins, to please the rapacious 
public, thirsty for all that was possible of their 
favorite characters! A pack of bloodhounds with 
awful hayings, some mules that bray as if they were 



*"In the single summer of 1902, there were 16 companies 
in this country playing the piece ('Uncle Tom's Cabin') under 
canvas. The Howard Family were the first actors to play 
'Uncle Tom's Cabin.' They opened with it in Troy, New 
York, where it had a run of three months. From there they 
took it to the National Theatre in New York (city) where 
they gave their first performance on July 18, 1853." — From an 
article by Dr. Judd in "The Theatre Magazine," February, 
1904. 

In 1883 S. T. Gordon & Son, New York music publishers, 
brought out an Operatic Version of "Uncle Tom's Cabin" in 
4 acts; Libretto by George Cooper, music by Harrison Millard 
and in 1912 there is talk of another book. 



THE INFLUENCE OF THE DRAMA 73 

in the extremis of death agony, real cakes of ice 
floating in basins of real water — such accessories 
have from time to time been added to keep the per- 
formance up-to-date and realistic. Usually these 
performers "double in brass," as a glance over the 
want columns of such papers as the "Clipper" will 
show. What is meant by such insertion, is that 
the performer must be able and willing to play an 
instrument in the band and to parade before each 
performance. There is also likely to be appended 
the word "Cakes," which is a stenographic manner 
of informing the applicant that board is furnished 
by the management, and, therefore, the salary 
expected must be modest, within a ten-dollar limit, 
as a rule. Surely none of these extra attractions so 
generously supplied and without an increase in price 
of admission, are what keep alive this lugubrious 
drama of pre-bellum days, for the play is still of vital 
interest. One presentation of a season is usual in 
the stock companies throughout the United States. 
The play is perennially young. It could be suggest- 
ed that the younger generations like to see depicted 
the conditions which occasionally existed in the 
Southland "before de whar," but other dramas treat- 
ing of this period, and which have been better knit 
and with preferable plot, have come and gone since 
then, and, although occasionally revived, none of 
them have so firmly established themselves in the 
hearts of the public* 

"The Two Orphans" is another remarkable play. 



♦Familiar Plays of War-times are, "Shenandoah" by 
Bronson Howard, "The Crisis" by Winston Churchill; "Secret 
Service," William Gillett; "The Heart of Maryland" by David 
Belasco; "Barbara Frietchie" by the late Clyde Fitch. 



74 THE INFLUENCE OF THE DBAMA 

From the French of D'Ennery, it has always been a 
prime favorite with American audiences. It is a 
well-written play, and of far better artistic construc- 
tion than "Uncle Tom." One reason for its facina- 
tion is founded, perhaps, upon the fact that to the 
average mind Paris is a city of romance, where any- 
thing is possible. The costuming is picturesque, 
the orphans pathetic, the ending happy. Miss Kate 
Glaxton's wonderful personality has had much to 
do with the success of "The Two Orphans." She 
played it many years, and the public loved to see 
their favorite in it; since she herself now seldom 
appears with the piece,* they go to see another 
actress in her role, and compare this interloper un- 
favorably with their favorite. Both of these plays 
gave delight to our grandparents, who were as par- 
ticular concerning the plays they went to see as the 
judicious reader is careful of the books he selects 
to read. The younger generation has a desire to 
see whether grandfather and grandmother were 
really discriminating in their tastes, or whether the 
play has grown more beautiful to them through the 
mellowing vista of retreating years. A peculiar 
thing concerning "The Two Orphans" is that more 
theatres have burned when it was being presented 
than have burned during the presentation of other 
plays. Fire seemed to follow after Miss Glaxton and 
the pitiful Orphans, and many a holocaust has been 
left in its wake. Theatres were not as fire-proof as 
nowadays ; moreover, the use of paper snow, its ac- 
cumulation on pieces of scenery and draperies was 
a danger, for the illumination then was oil or gas. 



.♦Miss Kate Claxton's most recent appearance in "The 
Two Orphans" was in 1904. 



THE INFLUENCE OF THE DRAMA 75 

A more recent play, the beautiful "Cyrano de Ber- 
gerac," has had a chain of misfortune following its 
productions. M. Coquelin passed to a better world 
soon after he ceased appearing in this play; Mr. 
Richard Mansfield has departed, and there are var- 
ious men who presented the role with smaller com- 
panies and have had misfortune. Once, in a stock 
company performance, the balcony fell upon poor 
Cyrano injuring him and Roxane seriously. 

Another old reliable is "Camille," the lady of 
tears. If a stock company does not receive the 
script of the new play in time to rehearse it 
properly, "Camille" can always be put on and be 
relied upon to at least pay expenses, and more times 
she pays a handsome profit, for royalty has long 
since ceased to be required for her use. Any 
person who has had training in stock work can get 
up in any part in "Camille" over night, and can be 
relied upon to do justice to the part assigned. It 
would be impossible to play "Camille" so poorly 
that she would not cause part of the audience to 
weep. Even an accident occurring, which in most 
plays would cause peals of laughter, will only add 
to the tragedy of the scene if a brain be quick to 
respond. There is a reminiscence of Miss Clara 
Morris, who was horrified in the last act, as she 
tottered to the dressing-table to gaze at herself in 
the mirror, when she saw the theatre cat strutting 
proudly in at the first entrance and approaching her 
for caress. As she seated herself she called to the 
cat, and, fortunately, he came and leaped into her 
lap. For a moment she stroked him, and then, 
always ready to save a situation, she called in faint 
tone, "Nanine, Nanine, come and take him away, 



16 THE INFLUENCE OF THE DRAMA 

I am grown too weak to even hold my poor cat!"* 
Ordinarily such a situation in a play would cause 
bursts of laughter from the rude person with sense 
of humor. But with Gamille, it only stirred yet more 
deeply the tear-ducts and called forth a more copious 
flow of the blessed saline! This play is craftily 
written; it stirs the emotions to their depths. 

"East Lynne" is really reminiscent of "Gamille." 
There is something about the two characters of 
Gamille and Lady Isabel peculiarly similar, and it 
may be that the one is only the French lady set down 
in an English shire. Their temperaments are 
identical, and either would have acted the same in 
the other's conditions and environments. Mrs. 
Wood may have had the French heroine in mind 
when she wrote her famous English novel. "East 
Lynne," the play, is not as skilful a piece of work- 
manship as "Gamille," is not executed by so good a 
craftsman, and it is likely to die first, but it will 
be a neck and neck struggle, and death will be harder 
than that of the proverbial "cat with the nine lives." 

Of more recent plays, there is none daintier than 
"Sweet Lavender," especially as impersonated by 
Mr. Edward Terry of London. "The Magistrate," 
another Pinero piece popular in that actor's reper- 
tory, a quaint conceit, was highly amusing in its 
days, and yet, though only twenty-five years have 
passed, these two plays are creaking on their hinges. 
Not even Mr. Terry's sweetness of impersonation 
seems to be able to redeem them from the accusation 



*The cat in "Camille" story is beautifully toM by Miss 
Morris herself in chapter eight of her book, "Stage Confi- 
dences." 



THE INFLUENCE OF THE DRAMA 77 

of age — at least not in the United States.* Rose 
Trelawny of that charming story of the stage of a 
hundred years ago, "Trelawny of the Wells," is 
growing old.f But young eyes have not the redeem- 
ing dim in them; they are sharp to see the wrinkles 
and signs of age. To them we seem old: to our- 
selves, we do not. 

On the shelf stand hundreds of plays which 
were popular in the early Nineteenth Century and 
whose titles are quite forgotten. "A Scrap of Paper 1 ' 
has been kept alive by Sir John Hare, but even that 
would have gone but for his admirable characteriza- 
tion. And "A Pair of Spectacles" — who ever plays 
it now? With the late distinguished American 
comedian, Joseph Jefferson, died "Rip Van Winkle." 
His sons retain it in their repertory, but it is not the 
same Rip. It is almost as foreign and disappointing 
as the new "Rip" recently rewritten (1911) and 
modernized to suit the requirements of Mr. Cyril 
Maude and his London audience. "The Bells" died 
with Sir Henry Irving. In America Mr. Thomas 
Shea still retains the piece, but it is not the same 
classic, for he has added ghosts and hobgoblins until 
all the mysticism has been dissipated, and with that 
has gone its intellectual fascination. Its modified 
form pleases better the less cultured audiences. 



*Mr. Terry died April 24, 1912, at Barnes, Surrey, England, 
aged 68. He went on the stage at age of 19. 

t'Trelawny of the Wells," by Arthur W. Pinero, was first 
presented at the Court Theatre, London, January 29, 1898, 
and at the Lyceum Theatre, New York city, November 22, 
1898. It was revived by Miss Ethel Barrymore at the Empire 
Theatre, New York city, January 1, 1911. Many critics who 
witnessed this revival claimed the play was "antiquated." 



78 THE INFLUENCE OF THE DRAMA 

Examples of decadent Drama show that it is not 
the fact of a play dealing with an issue of the hour 
and of interest only to the people living at that 
moment, which makes it grow old. Neither does 
the fact that a play deals with an historical event 
keep it young. Is it possible to formulate any ex- 
planation for this peculiar ageing of Drama? There 
has been a time when only Poetical Drama was in 
vogue. Witness the popular Drama of fifty years 
ago, when the heroes always spoke in verse — usually 
blank verse of the blankest sort. Those were the 
days when we loved the mouthings of "Virginius," 
"Damon and Pythias," "Ingomar," "Rienzi," "Met- 
amora."* Occasionally an old-time actor comes 
along presenting some of these grand old tragedies, 
and he is fortunate if he gets out of town with- 
out financial loss. We seem to be losing an ear 
for the appreciation of oratory. It is certain that 
few of the present-day performers are orators, and 
hardly any are elocutionists. Frequently the sup- 
port in a Shakespearian company do not understand 
what they are saying. The lines have been com- 
mitted to memory and are mouthed in the way that 
Hamlet in his advice to the players warned them 
against. It is a privilege to hear Mr. Ben Greet's 
players in their presentations of the classics. 
Scenery is quite superfluous, for one is entranced 
by the beauty of the lines, and the clearness of 
meaning which they are capable of sending across 
the auditorium. Mr. Goburn's players, a more recent 



♦"Metamora" was famous in the repertory of Mr. Edwin 
Forrest, and is said to be the first great Drama dealing with 
the American Red man. 



THE INFLUENCE OF THE DRAMA 79 

organization, with the same high ideals as the Greet 
players, are also commendable for this same clear- 
ness of diction. It seems strange that these gentle- 
men are able to get such intelligent interpretation 
of the lines, whilst some of our more prominent 
performers of Shakespeare have such wretched 
support. 

Another play, famous for many years, is "Leah 
the Forsaken" in which so long "starred" the late 
Miss Margaret Mather. Her Leah was a wonderful 
piece of acting, realistic in the extreme. No one 
who has ever seen her portrayal can forget it. Yet 
Leah lies neglected and one is startled to even see 
her name pasted upon a billboard, the periods of 
her resuscitation are so far between. Who that was 
privileged to see Mr. Lester Wallack in "Rosedale" 
can ever forget it? And yet, how often is "Rosedale" 
performed today? 

Some one has suggested that the fact some roles 
are capable of manifold interpretation by great 
players has kept fresh and vital those plays, and that 
plays in which the principal roles permit of less 
freedom of interpretation die much more quickly. 
It may be true. It is a good suggestion and worthy 
of reflection. I have not been able to formulate any 
satisfactory explanation as to the reasons for the 
long or short period of life of a play. I often have 
wondered why Mr. Hoyt's clever pieces have gone 
their way to the dust of the unopened bureau drawer. 
Probably "The Milk White Flag," "A Trip to China- 
town," "A Temperance Town," and the rest of that 
long list which used to amuse us, dealt so forcibly 
with situations absurd at the time of writing that 



80 THE INFLUENCE OF THE DRAMA 

they would no longer be intelligible to a generation 
since grown up.* 

The same explanation may be the reason for the 
total oblivion of Edward Harrigan's plays of the old 
East Side of New York city, the days when the Irish 
held sway there, and when the superstitions and cus- 
toms of Ireland were imported by the immigrants 
along with a bit of peat and a black-thorn, or bog- 
oak cane. "Leather Patch," tho viewed in childhood, 
has left a bright spot of pleasant remembrance, un- 
dimmed by the countless plays read and perform- 
ances seen since then, and in the quiet of my study 
I often sit picturing its whimsical scenes, and wish- 
ing for a glimpse once more of the joys of the days 
of my childhood. And "The Grocer of Avenue A" — 
how we used to laugh over that quaint German 
character! These types no longer exist; perhaps it 
would not seem credible that there ever had been 
such characters upon which to base the delineation 
Most likely the humor would be stale. Who knows? 
Yet, as we often steal into the attic, and open the 
long-closed trunk to sniff the fragrance of lavender 
and old rose, which it emits along with its must 
and mildew, and to touch reverently, and to strive 
with dimming eyes to read the faded violet ink, ap- 
plied with shadings and flourishings, or again with 
little prim hooks, the letters written by some sweet- 
heart to great-grandmamma, so we would reverently 
and lovingly gaze upon these plays of by-gone years 
which have left upon our minds indelible impres- 



*A manager is now at work freshening up several of these 
old Hoyt plays, and it is probable that in the season of 1912- 
1913 the public will again have opportunity to pass judgment 
upon old favorites in refurbished dress. 



THE INFLUENCE OF THE DRAMA 81 

sions of happiness and joy far more deep and last- 
ing, far more wholesome than the lessons taught by 
most of the plays of our present generation. 

CHAPTER SEVEN 

THE PLAY AND THE ISSUE OP THE HOUR. 

The playwright who deals with plots founded 
upon incidents of current history, the latest divorce 
trial, the most recent case of murder, the investiga- 
tion of public officials and heads of corporations, 
knows that his work will have no lasting value as 
a play, and that it is only a question of a few months, 
possibly two or three years, and his work will have 
been quite forgotten. Such work has its advantages 
in that the writer is likely to secure a generous finan- 
cial return, and will not have to suffer the pain and 
humiliation of having his work constantly rejected, 
only to have it commended when too late and the 
laurel wreath has to be laid upon the mound cover- 
ing his decaying bones. 

Mr. Theodore Kremer is a highly educated gentle- 
man, a scholar and a man of keen intellect. When 
he commenced his career as a dramatist, he began 
writing plays of high purpose, and met with nothing 
but refusal of his manuscripts — with and without 
"thanks." Some astute manager suggested to him 
that his plots were dramatic, and that there would 
be more money if he would turn his attention to 
pleasing the patrons of the cheaper grade of theatres. 
So Mr. Kremer made a study of that type of audience, 
and then sat down to his desk and wrote himself 
down to their level. Never once did he deceive him- 



82 THE INFLUENCE OF THE DRAMA 

self by believing he was turning out great or lasting 
literature. He has to his credit between fifty and one 
hundred plays which have pleased his particular 
public this country over, but few of which plays are 
now performed. Less than five years ago there was 
probably not a town of any size in the United States 
which did not see as often as once a week one of the 
plays from Mr. Kremer's facile pen. His plays bear 
such alluring titles as "Nellie, the Beautiful Cloak 
Model," "Bertha, the Sewing Machine Girl." 

These plays belong to the class which we mean 
when we jocosely say "Melodrama." They are full 
of vital, throbbing life, quick movement, and are 
painted in high colors; their psychology is easily 
understood. Their heroes are always supremely 
good, and their villians supremely bad. Virtue is 
always rewarded here and now, and villainy is just 
as surely punished. This young man did more to 
better conditions of life among the "working classes" 
as some one designated those who receive a small 
stipend for a week of hard service in factory, mill, 
department store and the like — than the scores of 
more pretentious writers who have offered to their 
public Dramas with morals so doubtful that one is 
not fully persuaded as to who is good and who is 
bad, and oft applauds the vice he should condemn. 

It is, indeed, a great pity that the newspaper 
writer and cartoonist should so have ridiculed this 
type of play that the people who found in it honest, 
wholesome excitement and enjoyment, should no 
longer go to see, because they now feel that apprecia- 
tion of such plays marks them as "ignorant." The 
nickel moving picture house and the low-priced 
vaudeville now get their coin and more frequently 



THE INFLUENCE OF THE DRAMA 83 

than once a week, and the public at large is not as 
well off, for when they attended the melodrama once 
a week they used a certain discrimination in selec- 
tion of the play to be seen, whereas in very much 
more frequent attendance at the moving picture and 
vaudeville such discrimination is not exercised. 

Hal Reid, Dore Davidson, Ramsay Morris, are 
other writers of "thrillers." Each has a large num- 
ber of acted plays to his credit, and these gentlemen 
have all had opportunity for the accumulation of a 
large competence, and some have judiciously in- 
vested the money so that they now lead lives of ease 
and luxury, and are able to turn their efforts to the 
style of writing which they believe is more worthy 
of their talents. But, tho heretofore their work was 
not entitled to the term "literature," it should not be 
spoken of as an unworthy thing. It was a commend- 
able work, and is to be honored for the good it has 
done, and for the happiness it has afforded to tired, 
weary mortals. It is a satisfaction to those down on 
the rungs of the ladder-of-life to see a play in which 
the man at the top reaches down and lifts to his 
own elevation some man or woman below him, who 
is struggling hopelessly on those slimy, slippery 
rungs, which are threatening momentarily to let 
him slip into the depths of the bottomless abyss of 
sin and shame. It makes one dream all day at his 
laborious, monotonous task, of the good fairy who 
will perhaps auto into his life. The whole doctrine 
is one of universal brotherly love, a true dream of 
the millenium. 

To be sure, each play had to have a "sensation" 
provided — a human-bridge over which the heroine 
walks to safety from the machinations of the vil- 



84 THE INFLUENCE OP THE DRAMA 

lian and his allies ; a scene where the heroine swings 
across an abyss clinging to the branch of an elm 
and brings relief to the suffering hero on the oppo- 
site brink; a passage from burning house to safety 
by a daring walk on a telephone wire; a score of 
such improvisations. But in spite of all these things 
regarded as defects by many, the plays were helpful, 
and their good qualities outweighed any of these 
blatant thrills. 

In the melodrama "Blue Jeans," the hero is slow- 
ly carried along on a moving-band toward a whir- 
ring saw, and rescued in the nick of time by the 
heroine who bursts in the door of the old mill with 
a convenient chair; in "The Still Alarm" there is a 
real fire-engine which makes a midnight dash to an 
imaginary fire; during the progress of the action a 
woman swings from one side of a chasm to the 
other clinging to a tree-branch, in the drama "In 
Old Kentucky," and there is added the additional 
excitement of horses racing wildly past in a race 
at a country fair; in "The Heart of Maryland" the 
heroine clings heroically to the clapper of a great 
bell, deadening its sound whilst her lover escapes 
to safety; "The Ninety and Nine" features a scene 
in which we are thrilled by the heroic engineer driv- 
ing his locomotive thru the burning forest. Even 
"Ben Hur," commended by press and pulpit, depends 
quite largely for its success upon its scene of ship- 
wreck, and its thrilling hippodrome scene with char- 
iots drawn by horses racing at full-speed upon a rap- 
idly revolving tread-mill, whilst the painted back- 
ground flies past in whirring panorama. 

Even Tolstoi did not escape the sensational, melo- 
dramatic ending when his "Anna Karenina" con- 



THE INFLUENCE OF THE DRAMA 85 

eluded with the heroine throwing herself over a clifT 
before the rapidly approaching express train.* The 
heroine in Richard Walton Tully's "The Bird of 
Paradise" leaps into the mouth of a volcano as a 
solution to the entanglement,! and in Mr. Pinero's 
"Mid-Channel" the heroine leaps from the balcony 
of her apartments to the pavement below. In-as- 
much as many of our generally accepted plays de- 
pend upon some scenic illusion to interest us, it 
does not behoove any of us to condemn the same 
characteristics in plays of lesser quality.^ 

The late Clyde Fitch was another dramatist who 
wrote for the hour, but for a higher grade of audi- 
ence. Mr. Fitch's plays are nearly all trivial. When 
one witnesses any of them presented by local stock 
companies, he is at a loss to account for their popu- 
larity. They were written to hit off some foible of 
the moment, and were supplemented by beautiful 
costumes, and fine scenic environment, and the best 
talent obtainable was drafted for their presentation. 
"The Climbers" dealt with the social aspirant, and 
had for its novelty the rising of the curtain upon a 
semi-darkened parlor from which men were remov- 
ing folding-chairs, rugs, palms, the things left after 
the departure of a funeral cortege with the remains 
of the gentleman of the house, and culminated in 
the reading of the will and a discussion of its terms 



♦Presented at Herald Square Theatre, New York city, 
by Miss Virginia Harned, Sept. 2, 1907. Adapted from Tol- 
stoi's Novel by Thomas Wm. Broadhurst. 

fPresented at Daly's Theatre, New York city, January 8, 
1912. 

{Richard Wagner's Operas, Goethe's "Faust," and many 
of Shakespeare's greatest plays, depend much upon specta- 
cular mountings to hold the attention and interest. 



86 THE INFLUENCE OF THE DBAMA 

by members of the family direct from the grave of 
the beloved father and parent. "Girls" revealed a 
bachelor-girls' apartment, and was novel in its ex- 
hibition of their methods of retiring at night with 
but one bed, a folding one, a sofa and a morris- 
chair; the plot struck at the woman who believed 
she could get along very well without a man, and 
who found after all that she needed a home and a 
husband's sympathy. It is said that Mr. Fitch's 
method of writing was to write his big scene upon 
which the plot pivoted, and then the acts leading up 
to it, and finally the requisite ending. It is only just 
to Mr. Fitch to add that "Nathan Hale," and his last 
finished play, "The City," show him capable of 
really great Drama, and it is lamentable he passed 
away before realizing this higher ability to its fullest 
extent. 

Mr. Somerset Maugham is another gentleman 
who started out to write plays of purpose and was 
side-tracked by finding they were not wanted by 
managers, and so turned to writing society comedy. 
In this latter field Mr. Maugham has been most hap- 
pily successful, and now that he has gotten himself 
well-established and won a public confident in his 
abilities as a playwriter, he can turn his thoughts 
once more to the line of work he prefers, and can 
hope to attain to greater heights.* 

Mr. Charles Klein has confined his output to plays 
of the hour. "The Lion and the Mouse" owed most 
of its success to the striking likeness professed to 



*For a complete list of Mr. Maugham's plays, see Appen- 
dix under his name. So likewise for other plays of the var- 
ious authors discussed in this and other chapters of the 
present volume. 



THE INFLUENCE OF THE DRAMA 87 

be found between its hero and the late H. H. Rogers. 
"The Next of Kin" handled the question of the incar- 
ceration of the mentally sound with the insane upon 
affidavit made by the next of kin. "The Third De- 
gree" revealed the sweating methods by which it is 
alleged confessions are oft wrung from the inno- 
cent by bullying police officials of our cities. "The 
Gamblers" deals with the overwhelming passion for 
speculation in high-finance. All these plays have 
achieved success, popular and financial. "The Mu- 
sic Master" is an entirely different type of play, does 
not deal with any question of the hour, and has been 
of perfect wearing-quality, and will be acted long 
after those other plays have been forgotten by the 
public. 

Mr. Eugene Walter in "Paid in Full" dealt with 
the momentous question of a clerk embezzling from 
his employer to keep his wife in a better style of 
living than his meagre salary would permit. "The 
Easiest Way" showed in another manner what had 
been dealt with before by the melodrama writer in 
"Why Girls Go Wrong," "Why Girls Leave Home," 
and the like. 

Mr. Edward Sheldon, the young graduate from 
the Harvard College course in playwriting conducted 
by Prof. George Baker, has shown the same tendency 
in his two notable plays, "Salvation Nell," used by 
Mrs. Fiske, a story of the work of the Salvation Army 
in the slums of our great cities; and "The Nigger," 
produced at the New Theatre, New York city, and 
later on the road, which shows that the integrity of 
the white race and of the black race must be abso- 
lute. There must be no commingling of blood re- 
gardless of the suffering this standard may impose. 



88 THE INFLUENCE OP THE DRAMA 

Even our honored Augustus Thomas fell a vic- 
tim to this "play of the hour" tendency when he 
wrote "The Witching Hour," a beautiful play, 
which had as plot the power of telepathic sugges- 
tion, and told of the influence which a cityful of 
people might have upon the decision of a Judge if 
they concertedly set their minds upon the release of 
a prisoner whom they believed innocent. Mr. David 
Belasco has gone a step further, and in "The Return 
of Peter Grimm" has pictured the control the dead 
may have over the acts of the living, and has made 
a sentimental appeal which is most charming. 

Thus we see the tendency of the modern writer 
is to deal with the present realities, and cast aside 
the poetical imaginings of what life might be. Such 
plays will not live so long as those dealing with the 
historic past, and which do not deal with some ques- 
tion of passing interest. A passing episode is quick- 
ly forgotten, and to a younger generation it is almost 
incomprehensible. The Civil War, a favorite source 
of material for Dramatists, is sufficiently far off to 
be treated romantically, and yet sufficiently near to 
seem part of the present. Even the young Cecil De 
Mille found there the scene for his "The Warrens of 
Virginia," and Edward Peple, the author of the ex- 
quisite "The Prince Chap," turned to that page of 
history for his "The Littlest Rebel." Harry Leon Wil- 
son and Booth Tarkington located "Cameo Kirby" 
in New Orleans, but at a date a trifle earlier than the 
Civil War. Messrs. Belasco and Tully placed "The 
Rose of the Rancho" in Southern California at the 
period when the Mexicans were supreme, and re- 
belling against the entrance of Uncle Sam upon their 



THE INFLUENCE OF THE DRAMA 89 

domain, altho Uncle Sam had paid well for the ac- 
quisition of California. 

Mr. James Forbes confines himself to present 
conditions. Witness his first great success, "The 
Chorus Lady," with Miss Rose Stahl; "The Commut- 
ers," another one of his successes, deals with the 
modern style of living away from town and com- 
muting by railroad each morning to your place of 
business in the city; and "The Travelling Salesman." 
"The Chorus Lady" may still have many years of 
existence before her, but the other three will be out- 
of-date or forgotten ten years from now. 

Mr. Percy MacKaye, the dramatic poet, the author 
of "The Canterbury Pilgrims,"* "Joan of Arc," "The 
Scarecrow," has thrown aside his poet's mantle and 
come forth in humorous prose with the successful 
and whimsical "Anti-Matrimony." This play tells 
the story of two young persons who believe mar- 
riage a superfluous institution, and that no cere- 
mony should be necessary, but cohabitation and sep- 
aration should be matters of personal volition, and 
of no concern to the law or to the public at large. 

Parallel with this tendency to be modern in selec- 
tion of themes for plays, runs a current which year- 
ly brings a certain trend in the Drama. One period 
it was the college subject which was uppermost, 
and we had "The College Widow," "Just Out of Col- 
lege," "My Cinderella Girl," "Brown of Harvard," 



*"The Canterbury Pilgrims" has been played at Colum- 
bia University by the Coburn Players. "Joan of Arc" Miss 
Maude Adams presented first at the Stadium of Harvard 
College several years ago. "The Scarecrow" Mr. Edmund 
Breese appeared in with little success before an unpoetical 
public. "Anti-Matrimony" was used in New York and on 
tour by Miss Henrietta Crossman, season 1911-1912. 



90 THE INFLUENCE OF THE DRAMA 

"Strongheart," "Sandy, the Quarterback," "The Fair 
Co-ed." Then there was a season of Western Drama, 
"The Girl of the Golden West," "The Flower 
of the Ranch," "The Three of Us," "The Virginian," 
"The Great Divide," "As Told in the Hills," "The 
Heir to the Hoorah." Once we had the Romantic 
Swashbuckler Drama of which Countess Orczy's 
"The Scarlet Pimpernel" is an example, with which 
Mr. Fred Terry and his wife Miss Julia Neilson 
charmed in 1911. But this play came too late, for 
we had had our "Gentleman of France," "When 
Knighthood Was in Flower," "Richard Carvel," the 
several "Zenda" plays, "If I were King," and "The 
Proud Prince." We have had our siege of the De- 
tective play,— "The Little Detective," "Raffles," "In 
the Bishop's Carriage," "Alias Jimmy Valentine," 
"My Mamie Rose," "The Girl Raffles," and a score of 
lesser fame. There was a day for the Pastoral Play, 
and that brought forth "The Old Homestead," " 'Way 
Down East," "Shore Acres," "The Village Postmast- 
er," "The Dairy Farm," "Blue Jeans," "The Ninety 
and Nine." 

Now in 1911-1912 we are having a revival of 
the Oriental in "The Garden of Allah," dramatized 
by Mrs. Mary Anderson Nevarro and Mr. Robert 
Hitchins from the latter's beautiful book of the same 
name; "Kismet" by Mr. Edward Knoblauch; "The 
Arab" by Edgar Selwyn; and the pantomime of "Su- 
murun," to say nothing of the various companies of 
Russian dancers in their Oriental ballets. For 
some reason it gets whispered around from season 
to season that the public seem to wish plays deal- 
ing with a certain subject or locality, and imme- 
diately every dramatist in the land turns to his type- 



THE INFLUENCE OF THE DRAMA 91 

writer and begins to thump off a play dealing with 
the subject which is being requested. "Under Two 
Flags" and the "Soudan" ought to be satisfactorily 
revived by stock and travelling companies just now 
since plays of that Occidental character are being 
clamored after. 

And why do plays move in these epochs? Why 
do we not have plays dealing with scores of sub- 
jects and localities? Well, managers are great be- 
lievers that if a play of one type be successful, an- 
other dealing with the same theme will be success- 
ful. The writer, also, sees a play of certain style suc- 
cessful at a certain time, and he turns his thoughts 
to something similar, believing he has more likeli- 
hood of success in that field both with manager and 
public. The result is a surfeiting with plays of that 
type, and a consequent nausea, a reaction, a differ- 
ent type, and again another cycle of play. 

Even the demand of the amateur player is af- 
fected, and these societies will not purchase a play 
dealing with any theme not at the moment im- 
mensely popular. Indeed, amateurs would much 
rather appear to wretched advantage in a play made 
famous by some favorite "star" — say Miss Maude 
Adams in "The Little Minister," than appear in sim- 
pler plays commensurate with their abilities his- 
trionic, and their stage resources. This tendency of 
the modern amateur has wrought havoc in the busi- 
ness of writing and selling plays for amateur per- 
formance. 

"Peter Pan" was in a class by itself, and there 
does not seem to have been any attempt at imitating 
it. Perhaps its appeal was so peculiarly dependent 
upon Barrie's whimsical humor that it could not be 



93 THE INFLUENCE OP THE DRAMA 

duplicated with success by any other author. But 
we have had recently a revival of the Poetic Drama, 
thanks to the New Theatre, New York city. We had 
the opportunity for seeing Maeterlinck's touching, 
reverent "Sister Beatrice," and his beautiful "The 
Blue Bird," that allegorical production of such ten- 
der exquisiteness of feeling, and of such touching 
sentiment. These plays demonstrated that the pub- 
lic could enjoy poetry when it was so perfectly 
rendered. "The Piper" of Mrs. Josephine Preston 
Peabody came in for its share of appreciation, and 
has met with favor on the road. "Ghantecler" of M. 
Rostand did not meet with the same cordial recep- 
tion, altho the popular favorite, Miss Maude Adams, 
essayed the difficult title role; it was a real disap- 
pointment, in contrast to the delight of the same 
author's "Cyrano de Bergerac," presented by the 
late Richard Mansfield, and "L'Aiglon" with Miss 
Maude Adams, and later with Mme. Sara Bernhardt. 
"Les Romanesques" of M. Rostand was delightful 
and pleased the public. "Everywoman," on the other 
hand, the work of the late Walter Brown, did meet 
with an ovation. It has been rather doubtful to 
place the success of these plays. Very likely were 
the scenic investures removed, the public would not 
be quite so cordial. Somehow, this is a material 
age and poetry is not beloved for its own sake 
alone. 

Yet, the public will listen attentively and appre- 
ciatively to plays of such poetic symbolism as "The 
Servant in the House," "The Dawn of a To-Morrow," 
and "The Passing of the Third Floor Back." We are 
all ailing physically and mentally, and we are all 
searching for some release from our afflictions, and 



THE INFLUENCE OF THE DRAMA 98 

therein may lie the reason for the tremendous suc- 
cess of the three plays last named, each of which 
deals with a metaphysical question, the control of 
mind over matter, the triumph of the soul over its 
environment, and which show the latent possibilities 
for accomplishing good and making ourselves and 
our companions better and happier, if only we are 
willing to make the best use of what lies within our- 
selves. It is the "Look up and lift up" which is 
surely hurrying us toward the Millenial dawn. 

Ten years from now, and it is highly probable 
most of these plays will be forgotten and discarded, 
but if their effect upon the generation for which 
they were written has been lasting, they have served 
their purpose fully and adequately. Any play which, 
dealing with an issue of the hour, makes the public 
think and take steps toward the eradication or ameli- 
oration of that evil, has been worth while. And 
that plays do make such eradicable impress, witness 
"The Writing on the Wall," presented a few years 
ago by Miss Olga Nethersole, whose theme was that 
of rotten tenements owned by the church, and the 
widespread discussion of which prompted Trinity 
Church Corporation to look into its holdings, and 
make improvements and alterations of benefit to 
vast numbers of poor members of the community. 
Again, witness Mr. John Galsworthy's play "Jus- 
tice," which changed the English prison system. 

The writer of the play dealing with the issue 
of the hour must be optimistic, must be somewhat 
fanciful in his treatment, and must reach a pleasant 
ending, the desirable outcome of the characters act- 
ing upon the suggestion he offers as remedy for the 
condition of affairs at which he takes aim, Ibsen 



94 THE INFLUENCE OF THE DRAMA 

and other foreign contemporaries — Tolstoi, as a wor- 
thy example — write unpleasantly, and hence the 
benefit of their teachings is much mitigated, for few- 
er are the presentations, and fewer, therefore, the 
public that goes to see. Cajole the audience into the 
theatre with a spectacular investiture of the play, 
serve the remedial dose in homeopathic quantities, 
and the teaching will be accepted.* 

CHAPTER EIGHT. 

THE PLAY AND THE SELECT AUDIENCE. 

It is a well-accepted fact that Shakespeare wrote 
his plays for a certain band of players called "My 
Lord Southampton's Servants," and that "Hamlet" 
was written to fit the capabilities of Burbage, the 
then leading man at the Globe theatre, and that 
Falstaff is said to have been created when Burbage 
was growing corpulent. Moliere wrote his plays 
for a particular group of players, and whenever the 
play requires lameness on the part of any character, 
it is safe to assume that that part was written for 
Moliere's brother-in-law, who had a limp in his 
gait. Dumas Fils wrote "Princess Georges" and 
"Femme de Claude" to fit the emotional abilities of 
Mile. Desclee. "Zaza" was written for Mme. Rejane. 
D'Annunzio wrote "The Dead City" and "Francesca 
da Rimini" with the great Mme. Eleonora Duse in 
mind for his heroines. Maeterlinck always writes 



*In "The Psychology of Beauty," Page 247, Miss Ethel 
Puffer gives as her reason for the success of a play the 
possession of "the dramatic essential — not action, but 
tension." 



THE INFLUENCE OF THE DRAMA 95 

with his wife, Mile. Georgette Leblanc, as his hero- 
ine. His marriage to this famous actress, the for- 
mer interpreter of his plays, has given a new and 
better birth to his art, and he has been lifted out 
of the sordid into the clearer, more ethereal, and has 
been accomplishing work far more creditable to his 
undeniable genius. That Maeterlinck realizes his 
obligations to his wife is evidenced in his book "Wis- 
dom and Destiny," which he has thus dedicated to 
his wife — "I dedicate to you this book, which is, 
in effect, your work. There is a collaboration more 
lofty and more real than that of the pen; it is that 
of thought and example. I have not been obliged to 
imagine laboriously the resolutions and the actions 
of a wise ideal, or to extract from my heart the 
moral of a beautiful reverie necessarily a trifle 
vague. It has sufficed to listen to your words. It 
has sufficed that my eyes have followed you atten- 
tively in life; they follow thus the movements, the 
gestures, the habits of Wisdom herself." What 
could be more beautiful than these words of appre- 
ciation of the important part Mme. Georgette Le- 
blanc Maeterlinck has played in the Belgian poet's 
life. 

Victorien Sardou wrote to fit the emotional abili- 
ties of the Divine Sara, Mme. Bernhardt. His 
"Robespierre" was designed for the late Sir Henry 
Irving. Rostand has written "Cyrano de Bergerac" 
and "Chantecler" to fit the capabilities of the late 
M. Coquelin, and "L'Aiglon" and "Les Romanesques" 
for Mme. Bernhardt. So one could continue enum- 
erating plays written to fit the abilities and talents 
of various individuals, not but what others have 
followed in their roles and have sometimes excelled 



96 THE INFLUENCE OF THE DRAMA 

the original interpreter, but certain artists have in- 
spired the poet of all ages. Frequently plays are 
written as novels are created, with no fleshly em- 
bodiment of certain peculiarities of temperament 
and mannerism in view, and these plays daily meet 
with success; but the playwright is far more likely 
to make his "strike" with a play intended solely for 
the use of some particular individual. 

Ibsen, on the other hand, does not seem to have 
shaped his great Dramas with any particular players 
in mind, but he does seem to have written his plays 
for a select audience, the Town of Christiana, where 
he was for five years director of the theatre until it 
failed in 1862. Because he was refused a govern- 
ment pension he left Norway and went to Rome, 
remaining away from his native land for ten whole 
years. Ibsen resented the narrowness of view of 
that town, and set himself to writing plays to show 
them to themselves, to hold up in fact the mirror to 
their natures; and the reflection, if it be not distort- 
ed, is surely a sorry picture of social conditions. 
Miss Jennette Lee, in her work "The Ibsen Secret," 
finds a symbol at the bottom of each of Ibsen's plays, 
and goes ahead with that as a basis and makes an 
elaborate treatise on the subject. Perhaps she is 
right, it is not for discussion within the brief limits 
of this essay, but the fact remains that each play 
was written to show up some foible of that particu- 
lar community, and other communities and individ- 
uals may read into the plays lessons of whatsoever 
sort they will, but the lesson was not for them at 
first hand. It seems to me, however, that the char- 
acter determines the typical and its place the ex- 
ternal, and that Ibsen did only what any capable 



THE INFLUENCE OP THE DRAMA 97 

playwright does — and that the symbol of necessity 
sprang from the character he was portraying, not 
the character from the symbol. 

Any writer who understands his business, places 
the stage-setting in harmony to the character, 
and all illusions and allusions are selected in the 
same manner, to fit and emphasize the character. 
Setting of act one of "The Witching Hour" is signifi- 
cant of the hero. The setting of Justice Prentiss' 
library is indicative of Justice Prentiss. When we 
have free rein to choose, our room is characteristic 
of our individuality; we stamp our personality upon 
the rooms we habitually occupy, even tho we have 
nothing but a few post cards and trifling nick-nacks 
such as we can carry in a trunk. The actor and 
actress carry with them their Penates which make 
every room their "home," for it is transformed by the 
personal touch. 

The late J. M. Synge wrote his plays, "Riders to 
the Sea," "The Playboy of the Western World," "In 
the Shadow of the Glen," for the Irish players at 
Abbey's Dublin Theatre. The plays were fitted to the 
abilities of this band of congenial souls, who were 
first drafted from amateur ranks, and later became 
out and out professional. Synge's aim in his plays 
was to preserve the Irish character with its weak- 
ness, its childish simplicity of nature. An experiment 
was made of casting these plays with English play- 
ers, but it was not of successful outcome, so the 
amateurs were organized from Irish working men 
and women. During the recent tour of these play- 
ers in the United States, protests were filed with the 
Mayor in many large cities to have certain plays in 
the repertory suppressed on the grounds that they 



98 THE INFLUENCE OF THE DRAMA 

were caricatures of the Irish people, and showed 
them in a very unfavorable and at times repulsive 
light. 

If one were to take these plays from a literal 
standpoint, the protest would have been justifiable, 
and should have been upheld in every instance ; but 
Synge was a poet, and took a poet's license of exag- 
geration, and the result has been so clever in liter- 
ary execution and sustained interest, his preserva- 
tion of Irish folk lore has been such an addition to 
the libraries of the world, that one should overlook 
their gross libel of the Irish race, and admire the 
result. They are impressionistic studies of a coun- 
try, and rank with Turner's impressionistic paint- 
ings which are given so prominent a place in the 
Tate Gallery, London. To be sure, the painter him- 
self is accredited with having at a dinner joked 
about his own works, saying, "See this salad — a 
piece of lettuce leaf, a tomato, a dash of paprika — 
I add some mustard, oil and vinegar to the combina- 
tion, and behold ! you have one of Turner's celebrat- 
ed pictures!" These pictures of Turner's are not 
true to nature, but the initiated profess to see in 
them exact impressions of natural landscape. 

Synge himself, in his introduction to "The Play- 
boy of the Western World," has said this : "On the 
stage one must have reality, and one must have joy; 
and that is why the intellectual modern Drama has 
failed, and people have grown sick of the false joy 
of the musical comedy, that has been given them in 
place of the rich joy found only in what is superb 
and wild in reality. In a good play every speech 
should be as fully flavored as a nut or apple, and 
such speeches cannot be written by anyone who 



THE INFLUENCE OF THE DRAMA 99 

works among people who have shut their lips on 
poetry." 

That is an excellent commentary on the Drama, 
but in many ways his own plays do not live up 
to all those requirements, unless indeed one read 
them whimsically. Certainly no one would care 
to consider "The Playboy" seriously, and feel that 
any wholesome-minded nation could laud a man as 
a hero who had murdered his father, and in the das- 
tardly manner that Christy had done — by a blow on 
the skull struck from behind. Further, that admir- 
ation is distinctly lessened when the self-made hero, 
finding he has been unsuccessful, makes effort after 
effort to kill his "da," and at length returns to his 
squatter cabin, making this remark to his poor, old 
father: "Go with you, is it? I will then, like a gal- 
lant captain with his heathen slave. Go on now 
and I'll see you from this day stewing my oatmeal 
and washing my spuds, for I'm master of all fights 
from now on. Go on, I'm saying." If one can read 
into the text the symbolism of the awakening of 
Ireland to her condition, and a rising against the 
rule of England after slumbering for many years, 
and to fresh blows for liberty, achieving in the end 
her freedom, and turning the tables, as it were, on 
the sovereignty of England, and returning only to 
her peaceful conditions with some such terms as 
those implied by Christy in that final speech to his 
father, old Mahon, the play is admirable, and should 
be most heartily endorsed by all loyal Irishmen. It 
must be that its final acceptance in Dublin, where 
at first it caused riots, was due to the audiences read- 
ing some such underlying meaning, for the people 
of Dublin would be quite as quick to resent an jn- 



100 THE INFLUENCE OF THE DRAMA 

suit to their intelligence as a race, as those who are 
born in America and know Ireland only from the 
fireside tales of their progenitors. 

Lady Gregory is an enthusiast in the support of 
this Irish band of players, and has written many of 
the plays in their repertory. She indulges, like 
Synge, in much symbolism. "The Outlook" of No- 
vember 4th, 1911, published "The Travelling Man," 
one of Lady Gregory's Miracle Plays.* To quote 
"The Outlook" in regard to it: "(This play) illus- 
trates the sentiment, religious feeling, and conscious- 
ness of the presence of mystery which characterize 
Irish plays of this kind and set them in broad con- 
trast to the humorous plays and the purely tragic 
or pathetic plays." A similar commentary would 
be applicable to the plays of W. B. Yeats which have 
made a furore among literary circles. 

Robert Browning wrote plays which belong in 
this same list of anomalies, and not so many years 
ago we had an opportunity to see Miss Mabsl Tal- 
iaferro in a series of matinees of "Pippa Passes." 
She was assisted by that exceptional actress, Mrs. 
Sarah Cowel Le Moyne, who later appeared with the 
late Kyrle Bellew in a matinee of "In a Balcony."* 
Sir Alfred, Lord Tennyson, wrote "a Beckett" which 
did achieve considerable success as presented by 
the late Sir Henry Irving, but the play had to be 
very much condensed and rearranged before it was 
fitted for stage use. Then there is that haunting 
play of a lost life, Byron's "Manfred," quite unacta- 
ble, but a thrilling dramatic reading, especially 



*The first of this series of matinees was in New York 
city, Nov. 12, 1906. But see Appendix for further dates and 
details. 



THE INFLUENCE OF THE DRAMA 101 

when its mood is accentuated by supplemental mu- 
sic, as it used to be rendered by the late George Rid- 
dell of Boston. 

Properly these plays are all of that anomalous 
class, the closet drama; some of them are purely of 
that class, fitted only for the library, and the student 
who enjoys a poem couched in the dramatic form; 
others of this classification are capable of presenta- 
tion, but nevertheless are "closet" in that they ap- 
peal only to the select audience. What is really the 
mission of such a play, and just what object does 
it attain? Ought not a play, to be worthy the name, 
to appeal to mankind at large? Isn't a play which 
depends upon symbolism for its appreciation and en- 
joyment a good deal like the descriptive pieces ren- 
dered from time to time by orchestras, and which 
depend upon a printed description of what is im- 
plied by the musical, or non-musical tones, and 
which convey no meaning to the ear, at least, not the 
elaborate meaning which the composer wishes to 
have woven into it? Such musical numbers are 
simply freaks, and do not hold a permanent place 
in the world of music. So I would place all these 
Dramas which need the piling up of essays upon our 
library-shelves, and which permit each reader to 
suit the story and its meaning or interpretation to 
his individual fancy. 

The Progressive Stage Society merits mentioning. 
Mr. Julius Hopp was its president. This Society, at 
Berkley Lyceum, New York city, and in other halls, 
was accustomed to give Dramas from time to time 
on Sunday evenings for the select few who would 
enjoy their outspoken, and frequently anarchistic 
views. These plays are in reality hardly more than 



102 THE INFLUENCE OF THE DRAMA 

sermons, and serve the sole purpose of better hold- 
ing an audience which has become wearied of hear- 
ing the doctrines of destructive Socialism as barked 
from the ends of carts.* 

The Miracle Plays of past ages are almost in 
this same classification, but may be differentiated on 
the ground that it took no select gathering of kin- 
dred souls to enjoy them, altho those who were bet- 
ter informed in matters of religion might get a 
great deal more benefit than others from viewing 
the presentation. Such mental equipment is, of 
course, not limited to the enjoyment of the select 
play alone, but adds to the enjoyment of any play. 
The demarkation in point is, that a play, to be a 
play, ought to appeal to the public in general, the 
man of intellect, the newsboy of the streets. It is 
obvious that each will find a different reason for its 
enjoyment, but the story must be simple of appeal, 
and plainly enough writ to be easily comprehended 
by all; an author may write into the play any fur- 
ther additions he likes, and may teach what propa- 
gandas and theories of life he desires, provided 
the first requirement, that of a good story with uni- 
versality of appeal and interest, be there. 

This chapter commenced by showing how good 
plays have resulted from writers having in view 
certain select players, and now it will try to show 
that in many instances good plays have resulted 
from writers having in view select audiences, but, 
I hope, it has been presented clearly and fairly, that 
in more instances a play written for a select audi- 
ence has not been a good play, for it failed of uni- 



*For list of some of these plays, see "Progressive Stage 
Society" in Appendix of this volume. 



THE INFLUENCE OP THE DRAMA 103 

versal appeal. As a hazard, the principal cause of 
failure has been due to incorrect dramatic construc- 
tion. Usually when a man turns to writing Clos- 
et Drama, and Drama for a select audience, he does 
so because he has not been able, or has been unwil- 
ling, to master the requirements of stage technique. 

What useful purpose do these Dramas fill? We 
have seen the purpose of Julius Hopp's socialistic 
plays, hinted at the purpose of Synge's, Lady Greg- 
ory's, W. B. Yeats' plays, i. e., they delight the stu- 
dent. Other than that they are quite useless, un- 
less, like Browning, Tennyson, Ibsen, and the Irish 
authors mentioned, they have added to our literary 
wealth. But they are evanescent in their effect even 
upon the mind of the student. Usually their plots 
are striking in at least one respect, and we may re- 
call something about them but as for causing us 
to model our lives after their dramatis personae, we 
never have and never will, and, as far as many are 
concerned, it is to be devoutly hoped that we never 
accept their character drawings for our ideals. 

No author of any such plays has a right to be- 
rate the public for unjust appreciation of his mer- 
its. The public is willing enough to give a writer 
his due, but he must feed them with real bread, and 
not try to foist a stone telling them to imagine it is 
a scone and will give just as much benefit. The 
public, after all, is composed of grown-up children, 
and have not learned to enjoy a pill which is not 
sugar-coated. Some day they may, but such en- 
joyment seems against human nature, and any phy- 
sician who starts out with such theory is likely to 
fail of success, no matter how good his intentions. 
I attribute to all writers for the select audience the 



104 THE INFLUENCE OF THE DRAMA 

best of intentions, but they have mistaken the way 
of administering the dose, and, until they change 
their views in this regard, they must still go on com- 
plaining that their audiences are few in number, 
and their new adherents fewer still. The Drama 
must be living and vital or it is not Drama, no mat- 
ter whether it have one character or a score, one 
set of scenery, or be divided into an interminable 
number of scenes which o'ertax the resources of 
any theatre even conceived.* 

CHAPTER NINE 

THE INFLUENCE OF COMMERCE ON THE DRAMA. 

Possibly no one question in connection with the 
Drama has caused so much editorial comment as 
that of the influence exercised by commerce upon 
the Drama. This influence has been good, but 
whether the good is unmitigated remains to be dis- 
cussed at length. 



*The reader may find it interesting to read such examples 
of Closet Drama as "The Travelling Man" and "Mac Darragh's 
Wife" by Lady Gregory; "Countess Cathleen" and "Land of 
Heart's Desire" by W. B. Yeats; "The Play-Boy of the Western 
World" by J. M. Synge; "Blot on the 'Scutcheon," "In a 
Balcony," "Pippa Passes," by Robert Browning; "Thomas a 
Beckett" by Alfred, Lord Tennyson; "A Lesson in Marriage," 
by Bjornstjerne Bjornson. All of these plays have been acted 
and some with considerable success, but they require a Select 
Audience to enjoy them to the full, and can hardly be called 
successful from universality of appeal to indiscriminate 
audiences. 

"The Blot on the 'Scutcheon" was written for Macready, 
and first performed by him at Drury Lane, London, Feb. 11, 
1843. Lawrence Barrett revived it in altered form, with the 
consent of Browning, in 1884. It was always a grief to Brown- 
ing that the play was not a complete success. 



THE INFLUENCE OF THE DRAMA 105 

Early in the dawn of the Drama, it was dis- 
covered that it was a paying institution. It brought 
generous revenues to the already overflowing cof- 
fers of the Church, and continued a dependable 
source of revenue to the very moment when it passed 
from ecclesiastical hands into hands of laymen. Un- 
doubtedly this money-making issue was surren- 
dered reluctantly, and was probably relinquished 
only when laymen with their "moving stations" be- 
gan to put on the moralities with greater realism 
and with more elaborate scenic investiture, which 
naturally brought them the liberal support of the 
people. If one accept this point of view, it will not 
be difficult to see why the Church, which had given 
birth to the Mediaeval Drama, should become so hos- 
tile toward her child, and brand the Drama with 
the sign of Cain. And, considering the ever-pres- 
ence on one extremity of the stage of "hell-mouth," 
it is not hard to see why the Drama and Stage have 
so oft been called the "doorway to hell," "the very 
gateway to the palace of Satan," and alluded to with 
other and more coarse epithets. 

Thus we see that commercialism entered into the 
management of the Drama at an extremely early 
date, and it has continued from that moment to the 
present writing, and must always continue. The 
real criterion of the success of a Drama is to be 
found in whether it will draw dollars and cents; 
if it doesn't do that, it must be termed a failure. 
What people really desire they will pay for, and if 
they will not pay for an effort, that effort is not 
worth the making. It must not be implied that all 
gratuitous efforts are not worthy of the support of 
the public, for many are so, and for them the pub- 



106 THE INFLUENCE OF THE DRAMA 

lie would willingly pay, but so long as one will give 
his talent, a people will not refuse to accept it gratis. 
Moreover, it is also true that that talent will soon 
become so familiar and common that it will have 
lost its cash value. 

For many centuries the Drama was not well 
organized. There were no means of rapid transit, 
and the players had to depend upon their feet for 
getting from town to town, and the baggage had 
to be transported upon carts, just as circuses still 
travel — at least a part of the time. A certain French 
manager recently re-introduced a travelling theatre 
into his own land, hoping to bring to towns a bet- 
ter theatre and better production than could be 
brought by other mode of transportation; a traction- 
engine was used for hauling the playhouse and its 
equipment. After a year's experimentation, it was 
found that the engine travelled too slowly, about 
three miles per hour, and that on grades it did not 
properly hold back the train of cars, and in conse- 
quence there were frequent catastrophies. There- 
fore, it was decided to return to the railway for 
transportation, using the engine only for short trips 
from the railroad terminus to any town a short dis- 
tance removed. Many of my readers are familiar 
with the Mississippi River floating theatres, some 
of which are really beautiful. Usually there are two 
boats employed, the one a barge with auditorium 
and complete stage equipment, the other a towing- 
steamer with living accomodations for the perform- 
ers. These boats stop along the river and give a 
repertory of plays. So even in this Twentieth Cen- 
tury of ours, we still find modes of travel somewhat 
suggestive of the olden days. The famous Wrenn 



THE INFLUENCE OF THE DRAMA 107 

Family were among the earliest to tour Western 
parts of the United States in their own coaches. 

"Barn-storming" has almost completely passed, 
and exists only in the "one-night standers" who 
play the tiny Opera Houses of the small towns. Be- 
fore every town possessed an "Operie House," these 
players produced their plays in barns upon tem- 
porary stages erected hastily at one end. The illum- 
ination was furnished by candles and lanterns, and 
most unsatisfactory it was. The barns of the South- 
land made rather good extemporaneous theatres. 
Their construction is familiar, two log cabins with 
a connecting roof. This central portion was cus- 
tomarily floored and boarded behind, so the general 
effect was not unlike the proscenium opening of the 
modern playhouse, while the barns at either side 
served as entrances and exits, and dressing-rooms. 
The audience sat on boards, or on the ground, fac- 
ing the open portion; a row of flickering candles 
served to illuminate the scene. Of scenic investi- 
ture the stage was more guileless than in the days of 
Good Queen Bess. 

For some reason scenery used to be built tre- 
mendously heavy, mounted on great wooden frames 
or long rollers, and was both awkward and expen- 
sive, and not at all adaptable to varying conditions. 
Recently it has become customary to paint back- 
drops and entire sets of scenery in aniline dyes, so 
that a production which used to require a car for 
its transportation, can now be folded into a few 
trunks and crates. In some respects this scenery is 
superior to the oil-work. It is possible by use of 
dyes to get a softer effect, like a water-color sketch, 
a hazy, disappearing, evasive atmosphere, more sug- 



108 THE INFLUENCE OF THE DRAMA 

gestive of nature, which always has a perpetual haze 
over her perspectives; when usings oils as the me- 
dium, one is always confronted with their glossy 
hardness which well fits them for interiors or ma- 
sonry depiction. Some first-grade theatrical com- 
panies carry duplicate productions, one heing paint- 
ed in dye colors, unmounted, folded into trunks; 
this set will be used in one-night stands with small 
stages, and the heavy scenic sets will be sent for- 
ward to the longer stops, or to those having stages 
sufficiently large to accommodate. This plan has the 
advantage of allowing a company to stop at many 
places which it would be impossible to play other- 
wise, and so reduces the cost of trans-continental 
transportation. The net proceeds from stops at 
these very small towns will not much more than pay 
the railroad fares, but if it does that, it leaves a 
greater margin of profit from the larger towns and 
cities, and the manager is satisfied. Very few manag- 
ers have entered the business from any other sense 
than that of profit. That is the "reason of being" of 
so many plays which are not works of art in any 
sense, but which, because of their exhibition of pret- 
ty girls in brilliant costumes against suitable scenic 
backgrounds, please the "genus rarus," — "the tired 
business men!" 

Commercialism must be accredited with bring- 
ing us much more entertainment than we should 
have had without its existence. Many years ago a 
group of men organized the theatrical syndicate. 
By combining their capital they were able to own 
or control more theatres and more companies than 
they could control as individuals. Before this time, 
a manager booked his attractions by writing ahead 



THE INFLUENCE OF THE DRAMA 109 

to local managers who owned theatres, and secur- 
ing such dates and terms of presentation as he could. 
Sometimes he made a very satisfactory agreement, 
and sometimes he got so small a share of the pro- 
fits that he lost heavily; if the manager lost the 
company lost, and the result was much skipping 
with funds by treasurers and managers, and the 
stranding of companies far away from home, and 
the resultant joke of "counting the ties" as the un- 
fortunate men and women walked wearly home- 
ward over the railway tracks. The organization of 
the syndicate did away with much of this, for each 
manager in the syndicate could book his attractions 
for a certain number of weeks, engagement follow- 
ing engagement in proper succession, and the order 
of towns played being such that there was not much 
money wasted in railroad fares spent for returning 
to places passed earlier in the season. The local 
manager was assured of having his theatre open 
a certain number of weeks, and could, therefore, 
give far better terms to members of the syndicate. 

Some managers there were who declined to rent 
their houses to the syndicate, and held out for exor- 
bitant percentages which would not be paid. These 
managers soon found that their towns were being 
passed over, and that their theatres were seldom 
opened. So few theatres held out against this or- 
ganization of dramatic attractions, that few com- 
panies could afford to play who were not either con- 
trolled by the syndicate, or who did not pay a book- 
ing fee to the syndicate to book them in the theatres 
which they controlled. As has been suggested, the 
system was of positive benefit to the player in gen- 
eral, for it assured him of a definite salary for a sea- 



110 THE INFLUENCE OF THE DRAMA 

son's work. He usually had to accept a smaller sal- 
ary, but it was almost guaranteed that he would re- 
ceive it, and, as he was assured of a pleasant season 
with suitable remuneration for his labors, he gladly 
compromised and took the money proffered. The 
organization of the syndicate struck hardest against 
the "Star" who owned his own troupe and had been 
accustomed to book his play and himself. He did 
not fancy paying a commission to the syndicate: it 
seemed unnecessary, and it showed to them too 
plainly his earning capacity. 

Mr. Richard Mansfield, Mrs. Fiske, and David 
Belasco are the most prominent of those who fought 
the syndicate. The result was that these belligerents 
had to make expensive railway journeys, had to 
play in second-rate theatres, or had to adapt ordin- 
ary halls for purposes of performance. They or- 
ganized, with some success, a syndicate of their own, 
and controlled for a while a circuit of towns of their 
own. In consequence, the public found itself see- 
ing only certain players, and did not have the broad, 
well-balanced fare of today. A few years back, 
Mme. Sara Bernhardt came to this country under 
anti-syndicate management, and was compelled to 
play in all sorts of buildings, and in many places 
appeared in a circus tent carried for just such pur- 
pose. America was a laughing-stock to the nations 
of the world. But things are changed now, and a 
compromise has been arranged, with the result that 
any manager of reputable standing can get his at- 
tractions booked over a particular circuit, and pay 
a reasonable amount for the service. It is a great 
advantage to everyone concerned, for a definite 
route is assured, and one does not have to waste 



THE INFLUENCE OF THE DRAMA 111 

time or money in writing to local managers for 
open time, and finding the desired dates are taken, 
and then re-writing, and so working for months, 
and at the end find himself with a route which will 
cost all the profits to cover by reason of returning 
over miles of railway. 

The entrance of commercialism has also caused 
the railways to be favorable to travelling companies, 
and they are permitted to grant them a party-rate 
which is beneficial. When it be considered how 
many thousands of persons move weekly, it can 
readily be seen that the actor is a source of much 
revenue to the railroads. Commercialism, there- 
fore, in that is has organized a business which had 
for years been nomad and ranked with the gypsy 
caravan, has been beneficial to all concerned. 

The late Sir Henry Irving was one of the best 
representatives of the manager prompted wholly by 
art, and who produced such plays as he considered 
artistic, and with such mountings as seemed to him 
most fitting. He was lavish in his expenditures, 
and drew large audiences. But he sank the old 
Lyceum Theatre, where he played in London, into 
indebtedness, and had to make many trips to the 
United States to restore his finances. It has been 
said that the profits of a tour of the States would 
aggregate $100.000 — and might even run higher, 
but that nearly all this sum was turned into the 
treasury of the Lyceum to keep it afloat. When he 
came to die, the fortune left by Mr. Irving was not 
as considerable as one would anticipate who was 
not familiar with his methods of business manage- 
ment. The late Augustin Daly was a man similar 
in purpose to the late Sir Henry, and when he died 



112 THE INFLUENCE OP THE DRAMA 

his wealth consisted very largely in the value of the 
scenery and the furnishings for his plays. Mr. Rich- 
ard Mansfield spent lavishly upon his productions, 
and played what he desired, fought the syndicate 
until wearied, and left but a modest fortune. 

Mr. David Belasco is today one of our most clev- 
er managers, and one of the most exacting for all 
that can be termed "Art." He spares no pains to 
get the exact illusion he desires — indeed, many of 
his plays have depended for success very largely up- 
on this artistic temperament. Yet Mr. Belasco is 
probably making a goodly profit from all of his 
productions. The secret of his success lies in that 
he gives to the public what it wants, and they re- 
pay him by dropping coin into his box-office. It 
is only good business to give the style play that the 
public desires to see, and then to use one's artistic 
soul to make that play the best offering possible. I 
do not plead for the coarse and vulgar; that I elim- 
inate; and I do not believe that the majority of the 
public wish such plays. However, because of or- 
ganized commercialism, it has been possible to send 
out lots of those plays, and the public, thirsty for 
diversion, will patronize them rather than refrain 
from the theatre for barren stretches of time. 

Mr. Hartley Davis in a recent number of the 
"Outlook" assents to this opinion in these words: 
"In plays, as in books and pictures, it is a signifi- 
cant thing to remember that the most valuable com- 
mercial commodity is the milk of human kind- 
ness. If you will study the novels, the dramas, and 
the pictures which have moved people, which have 
endured longest, you will find that they have this 
quality in common. It is the one thing that th6 



THE INFLUENCE OF THE DRAMA 113 

audience seizes upon most earnestly, most joyously, 
and the power of its appeal is measured by the puri- 
ty, the fineness, the strength of its expression. * * * 
* * * Maybe some day all plays produced will at 
least be worth seeing and hearing."* 

CHAPTER TEN. 

THE MORAL EFFECT OF THE DRAMA. 

The breadth of discussion of this chapter is so 
tremendous that I approach it with hesitation. De- 
scended through the Puritans and Quakers, with an 
intermingling of Scotch Presbyterians, I possess a 
somewhat prejudiced disposition toward the theatre, 
and there are times when my dual natures rise up 
to dispute with each other as to the healthy influence 
of the Drama. However, it may be that these two 



*As early as 1759 an attempt was made to establish a 
theatre in Philadelphia, but it was not until Nov. 12, 1766, 
that one was ready for occupancy. Mr. Lewis Hallam and 
a stock company presented "The Gamester," a play which is 
no longer in existence. "The Prince of Parthia," written by 
an American citizen, Thomas Godfrey, Jr., soon followed; 
this play, claimed to be the first ever written by an American, 
has also been lost to posterity. The date of its first produc- 
tion was April 24, 1767. The Continental Congress closed 
the theatre, "The Southwark," from 1774 to 1784, in an act 
directed against gambling, horse-racing and theatricals. How- 
ever, the house was occasionally open in 1777 during the 
British occupancy of Philadelphia, but only for lectures or 
amateur productions. At the end of 1784 Hallam and his 
company again returned to the "Southwark," where they re- 
mained until 1821 when the building was destroyed by fire, 
altho a portion of its ruined walls have remained standing 
until the present time, 1912, and after all these years there 
are rumors that a new theatre is to be erected upon the spot. 
It is a commentary upon our change of taste that this new 
house will be devoted to vaudeville. 



114 THE INFLUENCE OF THE DRAMA 

personalities will give me a clearer vision, and that 
I can present both sides with fairness, but, I fear, 
not being triple-minded, I shall not be able to act 
the referee and render a decision for one side in 
preference to the other, but shall have to delegate 
that function of judge of final appeal to the reader. 
Many of our clergy, and not always those who 
are narrowest in their views, have set it down as a 
principle that over-much attendance at the theatre 
retards one's spiritual advancement, and leads away 
from the enjoyment of holier things; whilst other 
clergy, equally as conscientious, encourage atten- 
dance at the theatre. One whom I know well, the 
founder of the Actor's Church Alliance,* seeks to 
make clergymen from actors, and has been success- 
ful with those whom he has already placed in par- 
ishes — but that is another discussion which touches 
upon the moral character of the men and women of 
the stage. Yet, it is not quite out of place to speak 
of that matter at the beginning of this discussion, 
for there are some clergy so narrow that they con- 
demn the play because of the alleged immoral char- 
acters of the participants in the Drama, this, in all 
Drama. Permit me to speak a word from out my 
own wide acquaintance with the player-folk, and 
say that they are as upright, as intense in their re- 
ligions passions and d°sires as other human beings 
who do not face the limelight for their daily bread. 
It is the man himself who is good or bad, not the 
work that he is doing. People of the stage are of 
necessity open to temptations and to the tongue of 



*Rev. Walter E. Bentley, rector of Ascension Episcopal 
Church, Brooklyn, New York. 



THE INFLUENCE OF THE DRAMA 115 

the slanderer to a far greater extent than the man 
or woman in the ordinary walks of life. 

Miss Clara Morris in her autobiography, men- 
tions her custom to pray for strength before her 
great performances. This is not exceptional, but 
is a practice frequent among members of the pro- 
fession. One woman manager who has mpt with 
great success, has always made it a rule that Sunday 
should be given to the Lord, and rehearsals are under 
the ban. Some years ago she started a stock company 
in a certain Western city, and, finding that Sunday 
performances would be required, gave up her idea 
and cancelled her contract upon the usual two 
weeks' notice. It is a regular thing to see this en- 
tire company going to church of a Sunday morning 
with the manager heading the procession. There 
are immoral players, and, unfortunately, their es- 
capades figure in our newspapers at great length, 
but the same state of affairs exists in other walks, 
and the church herself is not free from the occasion- 
al taint of sin. With these words, I dismiss the 
question of prejudice because a man or woman is 
a "player." 

The human organism is so constructed that what 
is seen with the eye leaves a deeper impression than 
that which is painted merely in words. This fact 
was so well recognized, that the Miracle Play was 
introduced by the early Church to aid in the eluci- 
dation of Holy Writ, and, tho it was subsequently 
discarded as an accessory to divine worship, yet it 
has survived through the ages, and it is not unusual 
to see an announcement of paintings or of stereop- 
ticon views as accessory to some Sunday service. Re- 
cently, a Presbyterian Church instituted the presen- 



116 THE INFLUENCE OF THE DRAMA 

tation of Sacred Drama on Sunday evenings. It 
was scarcely more than a responsive reading of 
Scriptural passages, but, nevertheless, was a simple 
form of Drama, with the purpose of teaching its 
lesson by the reading of the assigned words so that 
both words and character should be impressed dis- 
tinctly upon the mind of the auditor. Who has 
done more to make the Scriptures vitally alive than 
Mme. Lydia Mountford with her costumed, dra- 
matic illustrations of Bible customs, and interpre- 
tation of the parables? And how many have ever 
criticised with justice this admirable method of 
teaching Scripture? 

Further, the Mass itself as used in the Catholic 
churches of the world, is a simple dramatization of 
the Passion, and each movement of the priest, each 
crossing and re-crossing, has a significance to the 
initiated. Probably it is the fact that each service 
reveals a new idea, and that study makes the Truth 
more precious, which has kept alive the Catholic 
Church, and won for it adherents from many out- 
side denominations. To the casual observer there 
is simply a pageantry, but when one is told that that 
pageantry represents the triumphal entrance of 
Christ into Jerusalem, or, again, is His march to 
Calvary, what a significance there is, and what a 
help to one spiritually! There may be those of 
depth of mind not requiring this external sugges- 
tion, but there are many more who need to be con- 
stantly reminded through the eye of the realities of 
their belief, and to them the appeal is most strong. 
The Communion service itself is done as a memorial 
and with the idea of recalling to the spiritual vision 
that farewell act of the Great Master Himself. 



THE INFLUENCE OP THE DRAMA 117 

There are theologians who hold that the Book 
of Job, our first recorded Drama, was written to be 
acted. Indeed, a young lady has for several years 
been touring the United States with the Book of 
Job as a dramatic reading. No one who has heard 
her, will dispute that it makes a deep impression up- 
on the auditor. But, whether one agrees that the 
text was ever so presented in the past centuries, the 
incontestable fact remains that Job is a great Closet 
Drama. And the beautiful Psalms, the Songs of 
Solomon, are but songs, the outpourings of a soul 
under spiritual exaltation; many of them, indeed, 
were accompanied by a sort of pantomimic dance 
to better interpret the mood. And, has not their 
influence been powerful through the ages to bear 
men's souls closer to their Maker? In all our moods, 
we can turn to the Psalms of David and there find 
consolation. 

And the gift of acting itself! Is it not a divinely 
proffered inspiration? Do those who condemn the 
practicers of the art ever recall the Parable of the 
Talents? If one has been given this power to inter- 
est his fellow men in what is pleasant, has he a 
right to lay aside his talent unused lest the Master, 
when He return, shall condemn him for making that 
profit from it? Practice in any art makes one facile 
and so multiplies the talent, as was commanded to 
the servants in the Parable. Of course, it remains 
true that not every use of this talent is healthy. The 
same discretion is necessary in relation to a stage 
character as in the treatment of other phases in 
the many forms of lifework. In any calling one 
may be dishonest, but one need not be dishonest; 



118 THE INFLUENCE OP THE DRAMA 

and certainly when one plays an unworthy part he 
is not honest to himself and to his better nature. 

This again raises an interesting question. Be- 
cause of commercialism one often is given a part 
which is frankly immoral. There are players who 
reject such parts and walk the streets for months 
rather than debase themselves by being associated 
with such representation of depravity. All honor 
to these people! But laying aside such plays and 
parts, in every play there is a villian, a sinning per- 
son. In depicting such a character, is the actor in- 
juring himself? There are persons who, having 
played a drunkard for years, have at last succumbed 
to that deadly disease and died in the gutter. There 
are those who have played mental defectives and 
eventually found themselves in the same sad con- 
dition. There is no gainsaying that a part does 
stamp the man or woman who plays it sufficiently 
long, and the moral lesson does tend to become 
dulled thru too frequent repetition. The reverse is 
also true, and there are those who have played noble 
parts until they themselves have become as no- 
ble in character as the types they have for so 
long depicted; nobility of character comes to be 
writ upon their countenances. 

And now as to the question of the effect of the 
Drama upon the man in the chair without the circle 
of the footlights. Let us at the first discard all forms 
of the theatre which are admittedly for purposes of 
appealing to the more vicious nature ; such presen- 
tations are arranged with that object in view, and 
that they accomplish their object is witnessed by our 
juvenile and police courts, by our penitentiaries and 
agylums, by the forsaken home and broken vow. 



THE INFLUENCE OF THE DRAMA 119 

It is not necessary to discuss the particular type of 
production, for everyone is capable of discerning 
the flagrant vice, whether it be in form of moving 
picture, dance, burlesque, musical comedy — which 
is only enlarged vaudeville — or serious Drama. 

Here comes, then, the question of, What is Im- 
moral Drama? This is not so easily dismissed, nor 
can conclusions be reached offhandedly. Is a 
Drama immoral because there is a social sinner 
among the characters depicted? Assuredly not. If 
that form of vice be flaunted before us to amuse and 
arouse the passions, then condemn that Drama. 

To illustrate : the great Tolstoi wrote books which 
are not pleasant reading; they tell of all sorts of vice 
and crime, and that in minute detail; they are re- 
volting to the normal-minded, and may be inflam- 
matory to the abnormal; yet, Tolstoi never wrote 
of these conditions for the sake of amusing a mor- 
bid public, but for the sake of correcting a social 
condition. On the other hand, there are writers, very 
largely among French fictionists, and also some 
among modern English authors, who write of a 
crime or of a passion just to appeal to the unright- 
eous desires of certain classes of the community. All 
such fiction should be consigned to the fire. Yet there 
are shades of writing where the borderline of what is 
legitimate and what is not, is so close, that one is at 
a loss to know where to consign the work. It might 
not be a bad plan to follow in such a quandary the 
advice of the clergy, and when in doubt as to what 
is right and wrong, throw aside the act in question 
and do not commit it. 

Censors of past and present ages have made 
some curious discriminations in plays, and individ- 



120 THE INFLUENCE OF THE DRAMA 

uals often make just such strange discriminations, 
without rhyme or reason. It is a little like a ruling 
once made by a Methodist Church; an evening of 
tableaux had been arranged for some charitable 
cause, and a hall engaged. In the afternoon men 
were busy hanging some sliding draperies to be 
used to disclose the tableaux. The minister drifted 
in to see the work in progress, inquired the object 
of the draperies, and when informed that they were 
to be used as a curtain for the tableaux, was horri- 
fied, and ordered them removed at once ! When those 
in charge protested that tableaux must be concealed 
in some manner during the process of grouping, he 
said, "That is all arranged. I have borrowed two 
Japanese screens, and two of my brethren will set 
them before the groups, and then remove them a few 
moments for the audience to see the tableaux." One 
wonders how such a gentleman reconciled himself 
to the window-shade in his parsonage, for its ris- 
ing and falling movement was decidedly more sug- 
gestive of the theatre than the sliding curtain. 

One could go on indefinitely with such incidents 
and reasons for objection to Drama. One good sis- 
ter once protested against my interest in the Drama 
and said, "Think how sinful it is! Why, they use 
scenery!" Another time, after a presentation of 
"Hearts," Mr. William Echard Golden's dainty little 
play which took the "New York Herald's" prize some 
years ago, I overheard the remark, "It can't be right! 
It was so natural, it seemed real!" I have come to 
the conclusion that the majority of well-meaning 
persons have no good foundation for their preju- 
dice toward the theatre, and that a definite under- 
standing of the conditions, and a proper reasoning 



THE INFLUENCE OF THE DRAMA 121 

upon the subject, would be of decided benefit to 
everyone, and would go far toward suppressing 
the presentation which is vicious. Absurd reasons, 
such as those given, only disgust the thoughtful stu- 
dent, and tend to send him into the playhouse; a 
thing which is not so deplorable in itself, but he is 
too apt to argue that if the objection to the theatre 
be based upon so slender a foundation, perhaps the 
Church's objection to other things is just as unrea- 
soning. In that way another soul starts on the 
pathway of sin. 

St. Peter says in effect, "Be always ready to give 
a reason for the faith that lieth within you,"* and 
that word "reason" means a reason resulting from 
clear thinking and a logical conclusion. If one has 
decided on good grounds that the theatre is not con- 
ducive to happiness or uplift to himself; if his ex- 
perience has demonstrated that he is in a worse con- 
dition the next day as a result of attendance at the 
theatre; if the attendance takes away a desire for 
the real things of life; then, for him it is not good. 
To quote, "What is one man's meat is another man's 
poison." It may be that one's example of attendance 
at the theatre will be harmful to some one weaker, 
and again, the best way is, as of all such examples, 
to refrain. 

There have been many instances where a father 
or mother refrained from a healthy enjoyment of 
the play in order to lead the children aright, and in 
later years have found that the children had con- 
stantly indulged their tastes, but had kept the fact 



♦I Peter, 3:15. 



122 THE INFLUENCE OF THE DRAMA 

secret. Might it not have been better had the par- 
ents guided the child in attendance at the theatre? 
This does not mean "indulged" the child, as one 
so frequently sees when attending the playhouse. 
There are children who must go to the theatre reg- 
ularly once a week, sometimes twice, and no discre- 
tion is exercised as to the play to be seen — the good, 
the indifferent, the vicious, all are one. The effect 
of such attendance makes any thoughtful person 
shudder in horror. Far, far better that such chil- 
dren should never have entered a playhouse of any 
sort! 

The Unitarians and Universalists are wont to 
tell us that in the life of every man there is sufficient 
good to counterbalance the evil therein. If a man 
can be weighed apart from his influence upon the 
community at large, such may be true — I hope it 
is true. But a man's reaction upon his fellow man 
must always be taken into account in the estimation 
of a life. It would seem that evil multiplies so rap- 
idly, like vermin, and the kindly word and act are 
so slow in reproduction, that in the final checking 
up, the evil will far offset the good which a man 
careless of his influence has set in motion. 

In our estimation of the good or evil effect of the 
Drama, this should be borne in mind, — it is not the 
effect upon each one of us momentarily that is the 
significant thing, but what that effect prompts us 
to do. After witnessing a play, are we moved to go 
forth and pattern our lives in any particular, after 
the characters upon the stage, the good, the bad? If 
so, we have been permanently affected by the Drama. 
Many are so affected. There are evil effects from 



THE INFLUENCE OF THE DRAMA 123 

morbid presentations, and there are good effects 
from wholesome presentations.* 

*Thls clipping bears out some of the claims of the last 
paragraph: "Cedar Rapids, Iowa, February. — Influenced by 
sentiment pictured on the film at a moving picture show, Mr. 
X of this city, today made affadavit that he had sworn falsely 

in a case against Mr. Y of Iowa. On X's testimony Y 

was convicted of attempted extortion. The two men were 
rivals in love. Y was sent to prison two years ago and 
paroled last October, after serving 21 months." 

Rev. William N. Guthrie, rector of St. Mark's Episcopal 
Church on the Bowery, New York, has recently organized a 
dramatic company as adjunct to the work of the Church. He 
calls them the American Oberammerg'au Players. He believes 
that if we would elevate the stage we must begin within and 
elevate the player himself. Members of this company live 
a community existence, and receive a very small salary, but 
are guaranteed a home for life as reward for faithful service. 



APPENDIX 



If the student cares to wade through the list of 
plays contained in this Appendix, he will discover 
that the musical play has held a steady ratio with 
the non-musical of about 1 to 5, for the years from 
1903 to 1912, which are covered in this list. The 
exact figures are as follows: — 



Fall of 1903 (August to end of December), 
Productions 



Productions 



Drama, 


51 


Season 


1803—1909 


Musical, 


12 


Drama, 


118 




— 


Musical, 


29 


Total, 


63 











Total, 


147 


Season 


1904—1905 






Drama, 


101 






Musical, 


18 


Season 


1909—1910 


Total, 


119 


Drama, 

Musical, 


134 
35 



Season 1905—1903 

Drama, 127 

Musical, 25 

Total, 152 

Season 1908—1907 

Drama, 103 

Musical, 21 



Total, 



169 



Season 1910—1911 
Drama, 165 

Musical, 36 



Total, 



207 



Total, 



124 



Season 1907—1903 
Drama, 101 

Musical, 30 



Total, 



131 



Season 1911—1912 
Drama, 112 

Musical, 37 



Total, 



149 



These figures quickly show that we need not be 
so alarmed over the musical play as we have often 

[125] 



126 THE INFLUENCE OF THE DRAMA 

been, for the dramatic play still holds its own, and 
the increase of the musical show has not kept more 
than abreast with the increase in the dramatic 
offerings necessary because of the steady growth in 
the number of playhouses of our greater city. There 
are several reasons why there are more dramatic 
offerings, and why the musical play seems to occu- 
py the majority of the theatres. If a dramatic offer- 
ing does not make an appeal to the public, it is quick- 
ly withdrawn, for there is no way of remodeling 
the vital portions of the plot; the most one can do 
is to eliminate lines, or reconstruct certain portions 
of the dialogue, and this is not done rapidly enough 
to save an offering which is really poor ; hence anoth- 
er play succeeds it upon the boards. In the case 
of a musical comedy, unless it be hopelessly bad, it 
can be revamped into pleasing shape, for a song 
can be added here, or withdrawn there, and these 
musical plays are constantly changing from per- 
formance to performance. Further, in the case of 
most dramatic plays, if one has seen them once, he is 
satisfied; with a musical play, because of its con- 
stant changing and its evanescent qualities, a per- 
son can go several times and not be wearied — that 
is, if he be an admirer of this class of entertainment, 
which requires very little thinking; indeed, if a mu- 
sical play have a genuine plot, it is more likely to 
be a hindrance than a help, for it will meet the same 
difficulties of remodelling which confront the 
straight dramatic product. 

One will also observe that many plots have been 
taken directly from books or foreign plays, and that 
quite as many have been built upon the outlines of 
foreign plays or books, tho they are not exact copies. 



THE INFLUENCE OP THE DRAMA 127 

Also, except in the case of foreign writers, who al- 
most always have a collaborator, the English writ- 
er does not very often collaborate; but in the making 
of a musical show, one will notice that it is rare 
that there are not many cooks engaged in the brew- 
ing of the broth ; indeed, there are far more persons 
engaged than are named in the Appendix. One man 
writes the book, the plot — such as it is; another the 
verses, the lyrics ; a third the music as a whole, the 
overtures, main themes ; and there may be any num- 
ber who write the songs which are introduced. In 
the musical show the stage director is even more 
important for success than in the serious forms of 
the Drama; it is he who composes the dances, thinks 
up novel ideas to illustrate the songs, and guides 
the general ensemble; he may even be the man re- 
sponsible for the color schemes. Ned Wayburn, 
formerly a minstrel manager, has almost a monop- 
oly of this sort of work in New York, and his name 
is a stamp of quality. Gsorge M. Cohan is also not- 
ed for his ability along these lines, and his plays 
show how much depends upon the careful direction 
of detail. 

Think of any musical play you have seen recent- 
ly, and one feature will stand out prominently as 
superior to the rest. Of recent years, since the "Mer- 
ry Widow" made so great a furor, the waltz has 
been the number upon which as much time and 
energy have been spent as upon the balance of the 
stage direction. Strangely enough, one number of 
striking beauty and originality will draw people 
again and again to the theatre. I have known some 
people to see the "The Chocolate Soldier" six weeks 
in succession; another gentleman visited "The Red 



128 THE INFLUENCE OF THE DRAMA 

Mill" weekly as long as it remained in New York; 
another gentleman, a dilettante musician, was so 
charmed with one particular song in "Sally in Our 
Alley" that he went daily to hear that one song; in- 
deed, he developed a mania for that song, and whis- 
tled it, sang it, played it upon the piano, as frequent- 
ly as attention to such business as he had would 
permit! This mania for a certain musical play 
helps keep it alive longer than a dramatic play of 
the same merit could exist. 

Observe how many "Davises" have been num- 
bered as playwrights; and how many "Smiths" 
have produced the successful musical concoctions. 
One will also observe that the composers of music 
are really few — half-a-dozen will cover those who 
have attained fame in the field of the musical show. 
I do not include the several composers of Opera 
Bouffe, which is a trifle different, and is rather to be 
classified with real Opera than with musical come* 
dy, which, as I have already defined, is really "en- 
larged vaudeville." 

The year 1907 seems to have been an Ibsen year, 
and at no other time has this country seen enacted 
so many of his plays. Several companies at once 
travelled everywhere with "Ghosts"! We also hear 
it lamented that we have had no opportunity to see 
Ibsen's poetical plays, but reference to this author 
will soon refute that argument. Truly, these plays 
may not have been seen outside of the very large 
cities, but we are discussing the fact of their having 
been produced somewhere in the United States. 

And who can complain that Shakespeare is not 
produced after an examination of the formidable 
list of his plays? Shakespeare is just as much alive 



THE INFLUENCE OF THE DRAMA 129 

today as ever he was, and is treated with greater rev- 
erence in performance. We no longer see the hap- 
hazard, shoddy enacting of the bard; when com- 
panies do come they bring the dignity of Mr. Man- 
tell or Mr. Sothern, and one sees a satisfying produc- 
tion. An intelligent, conscientious player can make 
a good revenue playing Shakespeare, but he must 
make a large investment in scenery and costumes, 
and engage an expensive cast to assist him, and 
these are the very reasons why there are fewer trav- 
elling companies playing Shakespeare than former- 
ly. Shakespeare is so very carefully studied in the 
schools, and practically every high school and col- 
lege makes a yearly presentation of some of his 
plays, that intelligent students, trained in the read- 
ing of the lines, fill the audiences, and their demands 
upon the actor are such that the poor player can- 
not get past, and, as we have so few players 
schooled in Shakespearian interpretation and backed 
by the necessary money required to launch the ven- 
ture, that travelling companies have been reduced 
to a minimum. 

The student will also observe the modern ten- 
dency toward a single set of scenery, a small cast, 
or, to the observation of the old French unities of 
time, place, action, laid down by the French in 
the Seventeenth Century, and which so near came 
wrecking their Theatre by too close adherence to 
the rule. This modern tendency has resulted from 
the increased cost in production, for the public de- 
mands the most costly of stage settings, the latest 
mode of fashion in dress, and the railroad trans- 
portation is high, the distances between cities great; 
therefore, the managers welcome any play of merit 



130 THE INFLUENCE OF THE DRAMA 

which will assist in the reduction of these neces- 
sary incidentals. 

The variety of classification of plays is startling 
and original, from the description "entertainment," 
through comedy, farce, the hyphenating of these 
words to farce-comedy, comedy-farce, tragedy, tragi- 
comedy, comedy-drama, dramatic-comedy, ad libi- 
tum. This hap-hazard method of description has 
resulted from one of two causes, — either the author 
has never learned the exact lines of differentiation 
of plays, or has written a play which baffles any 
classification with the customary terms, and has to 
hyphenate his description to cover the composite 
nature of the offering he has written. 

No rules as to how many number of acts a play 
can be correctly divided into can be laid down. 
From study of the Appendix it will be seen that it 
is customary, not arbitrary, to divide a Farce into 
three acts, a Comedy into three or four, and a Drama 
into four, and occasionally five acts. It is not a 
good plan to have more than one scene to the act, 
but the sensational melodramas which used to come 
yearly from the Drury Lane Theatre, London, have 
three to six scenes to each act, and depend very 
much upon the changes of scenery to secure a pop- 
ular success. 

Authors run to a certain style of title, that of 
the heroine, perhaps, being taken as name of the 
play. Some writers are superstitious concerning the 
number of words or letters which they use in their 
titles. Likewise, certain writers seem to be success- 
ful when portraying one phase of life, or one par- 
ticular type of humanity, and very wisely adhere to 
that one particular line in which they have gained 



THE INFLUENCE OF THE DRAMA 131 

success. Again, some authors can write a play in 
only three, or in four acts ; it is their "style." Other 
writers seem to be able to handle only a certain 
number of characters — five men and three women, 
let us say — and to alter the cast in any way would 
be to throw them out of harmony with their sub- 
ject. 

In looking at the names of some of the more 
prominent authors, one will discover that they do 
not seem to be able to produce as many plays as 
formerly, and not with the same certainty of suc- 
cess. This is due to the fact that they have over- 
studied on technique and lost spontaneity, or to the 
fact that the style of writing in plays has changed 
so remarkably in the period that they have been 
writing that they are not able to adapt themselves 
to the present day fashion. Or, they may be ex- 
hausted in ideas upon which to write. 

It is startling, as has already been observed, to 
notice the rapid ageing of plays of comparatively 
recent years ; yet, yearly some manager makes a re- 
vival of some old-fashioned play. "The Two Or- 
phans," "Lights o' London," "Caste," "London As- 
surance," etc., and we are surprised to notice the vi- 
tality which exists in them, due to good dramatic 
methods which were employed in their composi- 
tion. The words may be out-of-fashion, the lines 
grandiloquent and apt to cause one not in reverent 
mood to smile, and the players too often show the 
absence of the all-around training of the stock com- 
panies of the "palmy days" when these plays were 
successes ; but, in spite of all, these plays are correct 
in principles of construction, and hold the audiences 
interested in their development. Frequently these 



132 THE INFLUENCE OF THE DRAMA 

old-time successes are rewritten, revamped, and 
make a new triumph. Examples are "The Three 
Twins," and "Bright Eyes" rewritten into musical 
form by Charles Dickson. 

Henri Bernstein and several foreign authors have 
had their plays acted in the United States even more 
frequently than at home. Why do some foreign 
writers need to have their plays revised and "adapt- 
ed" until they are hardly recognizable, whilst others, 
of which Bernstein is an example, are acted with 
very few alterations? Is is not due to their univer- 
sality of appeal, to a broad understanding of human 
nature, and correct character-drawing? These writ- 
ers, whose plays merely require translation, have 
the vision of Shakespeare, and do not write of some 
tiny fragment of their own society peculiar to that 
time and place. Mentality is unchanging, but per- 
sonality is ever changing. 

Lastly, let us see what long "runs" many plays 
have had. Uncle Tom's Cabin ran three months at 
the theatre in Troy, New York, in 1853, and opened 
at the National Theatre, New York city, July 18, 
1853, where it duplicated its original success. 

The Old Homestead played for about three suc- 
cessive seasons at the Academy of Music, New York 
city. 

The really successful plays in 1903-1904 were, 
The County Chairman, George Ade; The Other Girl, 
Augustus Thomas ; The Girl from Kays, Sweet Kitty 
Bellairs, David Belasco; Raffles; Her Own Way, 
Clyde Fitch. 

1904-1905, The College Widow, George Ade, 278 
performances ; The Music Master, Charles Klein, 265 
times; It Happened in Nordland, Mac Donough & 



THE INFLUENCE OF THE DRAMA 133 

Herbert, 173 times; Fantana, Sam. S. Shubert & R. 
B. Smith, 158 times; Mrs. Wiggs of the Cabbage 
Patch, Kate Douglas Wiggin, 150 times; Leah 
Kleschna, G. M. S. McLellan, 131 times; Adrea, David 
Belasco and John Luther Long, 116 times. 

1905-1906, The Music Master, 421 times (Second 
Year) ; It Happened in Nordland, 259 times (Second 
Year) ; Peter Pan, J. M. Barrie, 223 times; The Squaw 
Man, Edwin Milton Royle, 222 times; The Lion and 
the Mouse, Charles Klein, 211 times; The Girl of 
the Golden West, David Belasco, 192 times ; Man and 
Superman, G. Bernard Shaw, 192 times. 

1906-1907, The Music Master, 631 times; The 
Lion and the Mouse, 586 times ; The Girl of the Gold- 
en West, 397 times; Peter Pan, 291 times; Mile. 
Modiste, Henry Blossom and Victor Herbert, 202 
times; The Social Whirl, Charles Doty and Joseph 
Herbert, 195 times; Brown of Harvard, Rida John- 
son Young, 178 times. Plays new this season had 
the following runs : The Chorus Lady, James Forbes, 
299 times ; The Red Mill, Henry Blossom and Victor 
Herbert, 274 times; The Great Divide, William 
Vaughn Moody, 234 times ; The Three of Us, Rachel 
Crothers, 227 times; The Hypocrites, Henry Arthur 
Jones, 217 times; The Man of the Hour, George 
Broadhurst, 195 times; The Rose of the Rancho, 
David Belasco and Richard Walton Tully, 192 times ; 
The Rich Mr. Hoggenheimer, Harry B. Smith and 
Ludwig Englander, 187 times; The Parisian Model, 
179 times. 

1907-1908, The Thief, Henri Bernstein, 281 times; 
The Girl Behind the Counter, Ludham Bantock and 
Arthur Anderson, 260 times; The Merry Widow, 
Franz Lehar, 242 times ; The Witching Hour, Augus- 



134 THE INFLUENCE OP THE DRAMA 

tus Thomas, 212 times; The Warrens of Virginia, 
William G. DeMille, 190 times; A Knight for a Day, 
Robert B. Smith and Raymond Hubbell, 176 times; 
The Talk of New York, George M. Cohan, 165 times; 
Polly of the Circus, Margaret Mayo, 160 times; The 
Merry Widow (Burlesque), George V. Hobart, 156 
times; The Top o' The World, Mark E. Swan, 165 
times. 

1908-1909, A Fool There Was, Porter Emerson 
Browne ; Havana, George Grossmith, Jr. ; Mary Jane's 
Pa, Edith Ellis; Salvation Nell, Edward Sheldon; 
Sham, Geraldine Bonner and Elmer Harris; The 
Climax, Edward Locke ; The Dawn of a To-Morrow, 
Mrs. Frances Hodgson Burnett; The Easiest Way, 
Eugene Walter; What Every Woman Knows, J. M. 
Barrie; Seven Days, Mary Roberts Rinehart and 
Avery Hopwood; Is Matrimony a Failure? Leo Di- 
trichstein; The Chocolate Soldier, Oscar Strauss; 
The Fortune Hunter, Winchell Smith; Arsene Lupin, 
Francis de Croisset and Maurice Leblanc; The Pass- 
ing of the Third Floor Back, Jerome K. Jerome. 

1909-1910, Alias Jimmy Valentine, Paul Arm- 
strong; Madame X, Alexander Bisson; Mid-Channel, 
Arthur Wing Pinero; The Bachelor's Baby, Francis 
Wilson; The Lily, Pierre Wolff; Baby Mine, Mar- 
garet Mayo; Get Rich Quick Wallingford, George 
M. Cohan; Rebecca of Sunnybrook Farm, Kate 
Douglas Wiggin; Madame Sherry, Otto Hauerbach; 
The Blue Bird, Maeterlinck; The Country Boy, Ed- 
gar Selwyn; The Concert, Leo Ditriehstein. 

1910-1911, Chantecler, Edmond Rostand; Mrs. 
Bumpstead-Leigh, Harry James Smith; Pomander 
Walk, Louis N. Parker; The Pink Lady, C. M. S. Mc- 
Lellan; The Piper, Josephine Preston Peabody; The 



THE INFLUENCE OF THE DRAMA 135 

Spring Maid, Heinrich Reinhardt; Bought and Paid 
For, George Broadhurst; Bunty Pulls the Strings, 
Graham Moffat; Disraeli, Louis N. Parker; Maggie 
Pepper, Charles Klein; Passers-By, G. Haddon Cham- 
bers; The Garden of Allah, Mary Anderson and 
Robert Hitchins ; The Return of Peter Grimm, David 
Belasco; The Quaker Girl, James T. Tanner. 

1911-1912, Little Boy Blue, A. E. Thomas; The 
Talker, Marion Fairfax; Kismet, Edward Knob- 
lauch; The Bird of Paradise, Richard Walton Tully; 
Over the River, George V. Hobart; Officer 666, 
Augustus MacIIugh; Hokey Pokey, Edgar Smith; 
Lady Patricia, Rudolf Besier; The Pigeon, John 
Galsworthy; The Woman, William C. DeMille; Su- 
murun, Max Reinhardt.* 



♦When I began to compile this list of plays, it did not 
seem advisable to attempt to include the many one-act 
plays which are seen weekly in New York vaudeville theatres. 
But at the end of the 1912 season, and during the summer, so 
many prominent authors came forward with really fine 
sketches, I decided to list those sketches and these will be 
found included for the last few months. — The Author. 



AUTHORS AND THEIR PLAYS PRESENTED IN 
NEW YORK CITY IN LAST DECADE 

A. 

ANDERSON, MARY, 

The Garden of Allah; See Hitchens, Robert. 
ADE, GEORGE, 

The College Widow, Comedy, 4 Acts, Garden, Sept. 20, 1904, 

15m. lOf. 278 times. 

The Bad Samaritan, Comedy, 4 Acts, Garden, Sept. 12, 1905, 

8m. 5f. 15 times. 

Just Out of College, Play, 3 Acts, Lyceum, Sept. 27, 1905, 6m. 

6f, times. 

Artie, Comedy, 4 Acts, Garrick, Oct. 28, 1907, 13m. 5f. 22 times. 

Mrs. Peckham's Carouse, Play, 1 Act, Garrick, Oct. 6, 1908, 

4m. 2f. times. 

(See also under Musical Plays.) 
ASQUITH, MARY, and HIGGINS, DAVID, 

In the Gray Dawn, Play, 1 Act, Fifth Ave., Sept. 2, 1912, 2m. If. 
ADAM, FRANZ, 

Taps (Zapfenstreich), Drama, Acts, Lyric, Sept. 17, 1904, 

17m. If. 25 times. 
ADDISON, THOMAS, 

Meyer & Son, Drama, 3 Acts, Garden, March 11, 1909, 8m. 5f. 
times. 
ALDRICH, THOMAS BAILEY, 

Judith of Bethulia, Scriptural Tragedy, 4 Acts, Daly's, Dec. 15, 

1904, 11m. 4f. 16 times. 
ALLEN, INGLIS, 

The Dear Unfair Sex, Comedy, 4 Acts, Liberty, Sept. 10, 1906, 

6m. 4f. 21 times. 
ANSPACHER, LOUIS KAUFMAN, 

The Embarassment of Riches, Comedy, 3 Acts, Wallack's, May 

14, 1906, 11m. 4f. times. 

A Woman of Impulse, Play, 4 Acts, Herald Square, March 1, 

1909, 6m. 5f. times. 
ANSTEY, F., 

The Brass Bottle, Romantic Comedy, 4 Acts (From his own 

Novel), Lyceum, Aug. 11, 1910, 9m. 5f. times. 
ARMAND, W. S., 

Hortense, Play, 1 Act, Garrick (Matinee), Oct. 7, 1904, 2m. 4f. 
ASKEW, CLAUDE, 

The Shulamite, Col. Edward Knoblauch, Drama, Lyric, Nov. 

5, 1906, 3m. 3f. 25 times. 



THE INFLUENCE OF THE DRAMA 137 

ANZENGRUBER, LUDWIG, 

Die Kruzelschreiber (The Man Who Signs His Name), Comedy, 

3 Acts, Irving Place, April 10, 1912, 7m. 4f. (Oberammergauer 

Peasant Players). 
ARMSTRONG, PAUL, 

The Heir to the Hoorah, Comedy, Acts, Hudson, April 10, 

1905, 11m. 4f. 59 times. 

Salomy Jane, Play, 4 Acts, Liberty, Jan. 19, 1907, 10m. 4f. 155 

times. 

Society and the Bulldog, Comedy, 3 Acts, Daly's. Jan. 18, 1908, 

9m. 7f. 17 times. 

Blue Grass, Racing Drama, 3 Acts, Majestic, Nov. 9, 1908, 12m. 

4f. times. 

Via Wireless, Col. Winchell Smith, Melodrama, Acts, Liberty, 

Nov. 2, 1908, 17m. 4f. times. 

Going Some, Col. Rex Beach, Comedy, 4 Acts, Belasco, April 

12, 1909, 12m. 3f. times. 

Alias Jimmy Valentine, Play, 4 Acts (From O. Henry's Story, 

A Retrieved Reformation), Wallack's, Jan. 21, 1910, 13m. 4f. 
times. 

The Deep Purple, Col. Wilson Mizner, Play, 4 Acts, Lyric, Jan. 

9, 1911, 7m. 5f. times. 

The Greyhound, Melodrama, 4 Acts, 6 Scenes, Astor, Feb. 29, 

1912, 16m. 9f. times. 

B. 
BARRIE, JAMES M., 

Peter Pan, Play, 3 Acts, Empire, Nov. 6, 1905, 7m. 7f. 307 times. 

Alice-Sit-by-the-Fire, Play, 3 Acts, Criterion, Dec. 25, 1905, 3m. 

6f. 81 times. 

Pantaloon, Playlette, 1 Act, Criterion, Dec. 25, 1905, 3m. If. 

81 times. 

What Every Woman Knows, Comedy, 4 Acts, Empire, Dec. 23, 

1908, 8m. 4t. times. 

The Twelve Pound Look, Drama, 1 Act, Empire, Feb. 13, 1911, 

2m. 2f. times. 

A Slice of Life, Curtain-raiser, Empire, Jan. 29, 1912, 2m. If. 
times. 

The Little Minister, Performed before this Period. (Revived 

at Empire, Dec. 26, 1904, 73 times.) 
BARRY, TOM, 

The Upstart, Farce-Comedy, 3 Acts, Maxine Elliott's, Sept. 1, 

1910, 6m. 2f. times. 

In Old New York, Play, 1 Act, Union Square, June 17, 1912, 

4m. 2f. 
BARRY, JOHN D., 

The Congressman, Play, Acts, Empire, Nov. 1, 1906, m. 
f. Matinee of American Academy Dramatic Arts. 



138 THE INFLUENCE OF THE DRAMA 

BEACH, REX, 

Going Some, see Armstrong, Paul. 
BROOKFIELD, CHAS. H., 

Dear Old Charlie, Farce, 3 Acts, Maxine Elliott's, April 15, 1912, 

5m. 3f. 
BARTHOLOMAE, PHILIP H., 

Over Night, Comedy, 3 Acts, Hackett, Jan. 2, 1911, 5m. 5f. 
times. 

Little Miss Brown, Farcical Comedy, 3 Acts, 48th St., Aug. 29, 

1912, 9m. 6f. 

And They Lived Happy Ever After, Novelty from German, 

Union Square, Oct. 21, 1912, 2m. 3f. 
BEBAN, GEORGE, 

The Sign of the Rose, Play, 4 Acts, Garrick, Oct. 11, 1911, 12m. 

lOf. times. 
BELASCO, DAVID, 

Sweet Kitty Bellairs, Drama, 4 Acts (from Novel of Egerton 

Castle), Belasco, Dec. 29, 1904, m. f. 190 times. 

The Girl of the Golden West, Play, 3 Acts, Belasco, Nov. 14, 

1905, 11m. If. 443 times. 

The Rose of the Rancho, Col. Richard Walton Tully, Play, 3 

Acts, -Belasco, Nov. 26, 1906, 5m. 9f. 259 times. 

Adrea, Col. John Luther Long, Tragic Play, 5 Acts, Belasco, 

Jan. 11, 1905, 15m. 6f. 116 times. 

A Grand Army Man, Col. Pauline Phelps and Marion Short, 

Play, 4 Acts, Stuyvesant, Oct. 16, 1907, 12m. 6f. 149 times. 

The Return of Peter Grimm, Play, 3 Acts, Belasco, Oct. 17, 

1911, 8m. 3f. times. 

Zaza, Du Barry, and a score with Mr. De Mille. 
BERNSTEIN, HENRI, (French Writer. Plays acted in English.) 

Brother Jacques, Col. Pierre Veber, Comedy, 4 Acts, Garrick, 

Dec. 5, 1904, 4m. 4f. 37 times. 

The Thief, Adapted by Haddon Chambers, Drama, 3 Acts, 

Lyceum, Sept. 9, 1907, 4m. 2f. 281 times. 

Samson, Drama, 4 Acts, Criterion, Oct. 19, 1908, 9m. 4f. 

times. 

Israel, Drama, 3 Acts, Criterion, Oct. 25, 1909, 12m. 2f. times. 

The Thief, (Second Run), Daly's, Oct. 16, 1911. 

The Whirlwind, Adapted by George Egerton, Play, 3 Acts, 

Daly's, Nov. 3, 1911, 9m. 3f. 

The Whirlwind (Revived), Daly's March 23, 1910, 8m. 5f. 

The Attack, Play, 3 Acts (Eng. Version by Geo. Egerton), Gar- 
rick, Sept. 19, 1912, 6m. 2f. 
BERNSTEIN, HERMAN, 

Youth, Drama, 3 Acts (Translated from Max Halbe), Bijou, 

June 8, 1911, 4m. 2f. times. 



THE INFLUENCE OF THE DRAMA 139 

BATAILLE, HENRI, (French Writer), 

The Scandal (La Dadaille), Drama, 4 Acts, Garrick, Oct. 17, 

1910, 10m. 9f. times. 

The Foolish Virgin, Play, 4 Acts, Knickerbocker, Dec. 10, 1910, 

7m. 4f. times. 
B4.RTLETT, FREDERICK ORRIN, 

Big Man, Comedy, 1 Act, Playhouse, April 26, 1912, 2m. 2f. 
BERTON, PIERRE, 

Friquet, Col. Gyp, Drama, 4 Acts, Savoy, Jan. 31, 1905, 9m. 6f. 

21 times. 

La Belle Marseillaise, Drama, 4 Acts, Knickerbocker, Nov. 27, 

1905, 16m. 3f. 29 times. 
BER & GUILLEMAND, 

The Million, Farce, 4 Acts, Thirty-Ninth Street, Oct. 23, 1911, 

14m. 4f. times. 
BERG, C. F., 

Einer Von Unsere Lent (One of Our People), Farce, 5 Scenes, 

Irving Place (in German), Jan. 18, 1912, 8m. 7f. times. 
BESIER, RUDOLF, 

Don, Comedy, 3 Acts, New Theatre, Dec. 30, 1909, 4m. 5f. 

times. 

Olive Latimer's Husband, Play, 3 Acts, Hackett, Jan. 7, 1910, 

6m. 5f. Matinee. 

Lady Patricia, Comedy, 3 Acts, Empire, Feb. 26, 1912, 7m. 3f. 
times. 
BISSON, ALEXANDRE, and THURNER, GEORGES, 

The Marriage of a Star (Adapted into Eng.), Hackett, Aug. 15, 

1910, 4m. 5f. times. 

Der Schlafwagen-Controlleur (The Sleeping-Car Conductor), 

(Has been played in English under title On and Off). Farce, 

3 Acts, Irving Place (in German), March 13, 1912, 6m. 7f. 

times. 
BLANEY, CHAS. E. and SHEPARD, J. H., 

My Indian Love, Play, 4 Acts, Metropolis, Oct. 21, 1912, m. 
f. 12 times. 
BIDWELL, PATRICK, 

Peggy Machree, Romantic-Comedy with Music, Acts, Broad- 
way, Dec. 21, 1908, 8m. 5f. times. 

(The Author, Players, everyone connected in any way with this 

play were Irish.) 
BLAKE, GORDON, 

The Second Fiddle, Comedy, 3 Acts, Criterion, Nov. 21, 1904, 

9m. 5f. 32 times. 
BLOSSOM, HENRY, 

A Fair Exchange, Comedy, 3 Acts, Liberty, Dec. 4, 1905, 8m. 6f. 

21 times. 

(See under Musical Plays.) 



140 THE INFLUENCE OF THE DRAMA 



BOLTON, GUY, 

The Drone, Col. Douglas J. Wood, Comedy, 3 Acts, Thirty-Ninth 

Street, Nov. 17, 1911, 5m. 4f. times. 
BOUCICAULT, DION, 

London Assurance (Revived), Comedy, 5 Acts, Knickerbocker, 

April 3, 1905, 10m. 3f. 
BODEN, WILLIAM, 

Honest Jim Blunt, Comedy of Finance, 3 Acts, Hudson, Sept. 

16, 1912, 9m. 3f. 
BIRO, LUDWIG, 

Der Raubritter (The Highwayman) Comedy, 3 Acts, Irving 

Place, Oct. 30, 1912, 8m. 3f. 
BOWKETT, SIDNEY, 

Lucky Miss Dean, Play, 3 Acts, Madison Square, Feb. 6, 1906, 

5m. 2f. 10 times. 
BOYD, H. H„ 

A Citizen's Home, Drama, 4 Acts, Majestic, Oct. 1, 1909, 6m. 6f. 
times. 
BOYLE, WILLIAM, (Irish Playwright.) 

The Building Fund. Comedy, 3 Acts, Maxine Elliott's, Dec. 1, 

1911, 3m. 2f. times. 

The Mineral Workers, Comedy, 3 Acts, Maxine Elliott's, Dec. 

4, 1911, 8m. 3f. times. 
BOYLAND, R. D., 

Don Carlos (Trans, from Frederick Schiller), Play, Acts, 

New Amsterdam, March 19, 1905, 12m. 5f. 6 times. 
BOND, MAC GREGOR, 

Publicity, Tragic, One Act Curtain-raiser, Empire, Feb. 29, 

1912, 4m. If. Matinee, American Academy Dramatic Arts. 
BRIEUX, EUGENE (French Writer.), 

The Three Daughters of M. Dupont, Comedy, 4 Acts (Trans, by 

Laurence Irving from Le Trois Filles de M. Dupont), Comedy, 

April 13, 1910, 7m. 8f. times. 
BROWNE, PORTER EMERSON, 

A Fool There Was, Play, 3 Acts, Liberty, March 24, 1909, 12m 

4f. times. 

The Spendthrift, Play, 4 Acts, Hudson, April 11, 1910, 5m. 4f. 
times. 
BROWNE, WALTER, 

Everywoman, Allegory, 5 Acts, Herald Square, 1911. 
BROWNING, ROBERT, 

A Blot on the 'Scutcheon (Revived), Play, Acts, Hudson, April 

7, 1905, 4m. 25f. times. 

Pippa Passes, Drama, Acts, Majestic, Nov. 12, 1906, m. 
f. 9 times. 



THE INFLUENCE OF THE DRAMA 141 



BRACCO, ROBERTO (Italian Writer), 

Comtesse Coquette, Comedy, 3 Acts, Bijou Theatre, April 12, 

1907, 2m. 4f. 101 times. 

Pietro Caruso, Dramatic Playlette, 1 Act, (In German), Irving 

Place, Jan. 24, 1912, 2m. If. 
BURGESS, GELETT, 

The Cave Man, Farce, 3 Acts, Fulton, Oct. 30, 1911, m. f. 
times. 
BURNETT, MRS. FRANCES HODGSON, 

The Dawn of a Tomorrow (Dram, of Book), Play, 3 Acts, Ly- 
ceum, Jan. 25, 1909, 12m. 5f. times. 

Little Lord Fauntleroy, Little Princess, Prince and Pauper. 
BENNETT, ARNOLD and KNOBLAUCH, EDWARD, 

Milestones, Play, 3 Acts, Liberty, Sept. 17, 1912, 8m. 6f. See 

Knoblauch, Edward. 

BRADLEY, ALICE, 

The Governor's Lady, 3 Acts and Epilogue, Republic, Sept. 10, 

1912, 19m. 6f. 
BUCHBINDER, BERNARD, 

Die Frau Gretl, Farce, 3 Acts, Irving Place (in German), Dec. 

25, 1911, 6m. 6f. times. 

BUCHANAN, THOMPSON, 

A Woman's Way, Play, 3 Acts, Hackett, Feb. 22, 1909, 8m. 6f. 

times. 

The Intruder, Comedy, 3 Acts, Bijou, Sept. 22, 1909, 2m. 5f. 

times. 

Lulu's Husbands, Farce (from French), 3 Acts, Maxine Elliott's, 

April 14, 1910, 10m. 5f. times. 

The Cub, Play, 4 Acts, Comedy Theatre, Nov. 1, 1910, 12m. 6f. 

times. 

The Rack, Play, 4 Acts, The Playhouse, Sept. 15, 1911, m. 

f. times. 

BOOTH, HILLIARD, 

The Bargain, Col. Cora Maynard, Drama, 4 Acts, Criterion, 

Mar. 28, 191 — , 8m. 4f. Matinee. 
BROADHURST, GEORGE M., 

The American Lord. See Dazey, Charles T. 

The Man of the Hour, Play, Acts, Savoy, Dec. 4, 1906, 8m. 

3f. 479 times. 

The Mills of the Gods, Play, 4 Acts, Astor, March 4, 1907, 10m. 

5f. 48 times. 

The Lady from Lane's, Col. Gustave Korker, Comedy, 3 Acts, 

Lyric, Aug. 19, 1907, 10m. 3f. 47 times. 

The Easterner, Play, 4 Acts, Garrick, March 2, 1908, 8m. 5f. 

16 times. 



142 THE INFLUENCE OF THE DRAMA 

The Call of the North, Play, 4 Acts (Founded on Stewart Ed- 
ward White's Novel Conjuror's House), Hudson, Aug. 24, 1908, 

12m. 4f. times. 

An International Marriage, Comedy, 3 Acts, Weber's, Jan. 4, 

1909, 9m. 5f. times. 

The Dollar Mark, Play, 4 Acts, Wallack's, Aug. 23, 1909, 18m. 

2f. times. 

Bought and Paid For, Play, 4 Acts, Playhouse, Sept. 26, 1911, 

4m. 2f. times. 

The Price, Play, 3 Acts, Hudson, Nov. 1, 1911, 3m. 3f. times. 

Anna Karenina, Drama (Adapted from Edmond Guiraud's Play 

from Tolstoi's Novel), Acts, Herald Square, Sept. 2, 1907, 

10m. 6f. 47 times. 

Just Like John (J. Mark Swan), Farce, 3 Acts, 48th Street, 

Aug. 12, 1912, 8m. 4f. 11 times. 
BONNER, GERALDINE, 

Sham, Col. Elmer Harris, Comedy, 3 Acts, Wallack's, March 

27, 1909, 6m. 7f. times. 

Sauce for the Goose, Col. Hutcheson Boyd, Comedy, 3 Acts, 

The Playhouse, April 5, 1911, 4m. 4f. times. 

BOOSEY, WILLIAM, 

The Prince Consort, Col. Cosmo Gordon Lennox, Comedy, 
Acts (from French of Xanrof & Chancel), New Amsterdam, 

March 6, 1905, 10m. 7f. 28 times. 
BONN, FERDINAND, 

Der Junge Fritz (The Young Fritz), Drama, 4 Acts, Irving 

Place (German), March 8, 1912, 12m. 3f. times. 

C. 

CALDWELL, ANNE (or Anna), 

The Nest Egg, Play, 3 Acts, Bijou, Nov. 22, 1910, 5m. 5f. times. 

Uncle Sam, Col. James O'Dea, Comedy, 3 Acts, Liberty, Oct. 

30, 1911, m. f. times. 
CARTON, R. C, 

The Rich Mrs. Repton, Comedy, 3 Acts, Criterion, Nov. 16, 1904, 

9m. 4f. 5 times. 

Mr. Hopkinson, Farce, 3 Acts, Savoy, Feb. 12, 1906, 7m. 3f. 

113 times. 

Mr. Preedy and the Countess, Farce, 3 Acts, Thirty-Ninth 

Street, Nov. 7, 1910, 9m. 5f. times. 

CAMPBELL, MAURICE, 

Where There's a Will, Play, 3 Acts (from French Source), 

Weber's, Feb. 7, 1910, 8m. 6f. times. 

CAMERON, GEORGE, 

Agnes, Drama, 4 Acts, Majestic, Oct 5, 1908, 8m. 6f. times. 

Billy, Comedy, 3 Acts, Daly's, Aug. 2, 1909, 6m. 5f. times. 



THE INFLUENCE OF THE DRAMA 143 



CARTER, LINCOLN J., 

Bedford's Hope, Play, 4 Acts, Fourteenth Street, Jan. 29, 1906, 

10m. 5f. 16 times. 

(The Author of a Score or more Melo-Dramatic Thrillers, fa- 
miliar on the road and week-stands in New York city.) 
CARTWRIGHT, CHARLES, 

The Proud Laird. See Hamilton, Cosmo. 
CAILLAVET, GUSTAV ARMAND De, and De PLERS, ROBERT, 

(French Writers), Decorating Clementine (trans, from Le 

Bois SacrS by Gladys Unger), Comedy, 3 Acts, Lyceum, Sept. 

19, 1910, 13m. 5f. times. 

CAINE, HALL, 

The Prodigal Son, Drama, 4 Acts, New Amsterdam, Sept. 4, 

1905, 9m. 5f. 42 times. 

The Christian, The Eternal City, etc., before this Period. 
CAREY, HENRY D., 

Two Women and That Man, Play, 4 Acts, Majestic, Oct. 18, 

1909, 7m. 2f. times. 

Wyoming, a Melodrama very popular on the road. 
CARPENTER, EDWARD CHILDS, 

The Barber of New Orleans, Drama, 4 Acts, Daly's, Jan. 15, 

1909, 9m. 4f. times. 

COUGHLIN, BERNARD, 

The Man from the North, 1 Act, Union Square, Oct. 24, 1912, 

2m. If. 
CARR, J. COMYUS, 

Oliver Twist, Play, 4 Acts (Dickens' Novel), Fifth Avenue, 

Nov. 13, 1905, 10m. 4f. 11 times. 

Oliver Twist (Revived), Drama, 5 Acts, New Amsterdam, Feb. 

26, 1912, 19m. 6f. times. 

CARSON, MURRAY, 

The Trifier, Col. Nora Keith, Comedy, 3 Acts, Princess, March 

16, 1905, 6m. 2f. 4 times. 
CASSA, PIETRO (Italian Writer), 

Nero, Tragedy, 5 Acts (In Italian), Lyric, Dec. 9, 1907, 12m. 

3f. times. 

CHAPIN, BENJAMIN, 

Lincoln, Historical Play, 4 Acts, Liberty, March 26, 1906, 8m. 

If. 21 times. 

(This play was enlarged from Mr. Chapin's successful imper- 
sonation of the Martyred President, which has been most 

successful. Later he did the Act in condensed form in Vaude- 
ville. The 4-Act Play did not please the Public as well as the 

shorter forms have done.) 
CHAPMAN, HENRY GRAFTON, 

Beethoven, Dramatic Biography, 3 Acts (Trans, from French 



144 THE INFLUENCE OF THE DRAMA 



of Rene Fauchois), New Theatre, April 11, 1910, 21m. 5f. 

times. 
CHAPIN, ANNA ALICE, 

The Deserters. See Carter, Robert Peyton. 
CARTER, ROBERT PEYTON, 

The Deserters, Play in Prologue and 4 Acts, Col. Anna Alice 

Chapin, Hudson, Sept. 29, 1910, 18m. 7f. times. 

CHIRIKOFF, EUGENE (Russian Writer.) 

The Chosen People, Drama, 4 Acts (Played in Russian), Gar- 
rick, March 21, 1912, 7m. 4f. times. 
CHURCHILL, WINSTON t 

The Crossing, Romantic Drama, 4 Acts, Col. Louis Evan Ship- 
man, Daly's, Jan. 1, 1906, 11m. 5f. 8 times. 

The Title Mart, Anglo-American Comedy, Madison Square, 

Feb. 19, 1906, 11m. 3f. 24 times. 

The Crisis, Drama, 4 Acts (Revived), Academy of Music, 

Jan. 1, 1912, 12 times. 

Richard Carvel (Previous to this Period). 
CLARK, J. I. C, 

The Prince of India, Drama (from Novel of Gen. Lew Wallace), 

Broadway, Sept. 24, 1906, 21m. 3f. 73 times. 
CLIFFORD, MRS. W. K., 

The Modern Way, Comedy, 3 Acts, Empire, Feb. 29, 1912, 7m. 

9f. American Academy of Dramatic Arts. Matinee. 
COLLINS, SEWELL, 

Miss Patsy, Farce, 3 Acts, Thirty-Ninth Street, Aug. 29, 1910, 

6m. llf. times. 

CLEMENT, CLAY. 

Sam Houston, Col. John McGovern and Jesse Edson. Drama, 

4 Acts, Garden, Oct. 16, 1906. m. f. 22 times. 
CHAMBERS, C. HADDON, 

The Thief. See Bernstein, Henri. 

Suzanne. See Fonson and Wicheler. 

Passers-By. Play, 4 Acts, Criterion. Sept. 14, 1911, 5m. 3f. 

123 times. 
COHAN, GEORGE M., 

Popularity, Comedy, 3 Acts, Wallack's, Oct. 1, 1906, 10m. 4f. 

24 times. 

The American Idea, Musical Play, 3 Acts, New York, Oct. 5, 

1908, 7m. 6f. times. 

Get-Rich-Quick Wallingford, Comedy, 4 Acts (From Novel of 

Randolph Chester), Gaiety, Sept. 19, 1910, 16m. 5f. times. 

The Little Millionaire, Musical Farce, 3 Acts, Geo. M. Cohan's 

Theatre, Sept. 25, 1911. m f. times. 

Broadway Jones, Comedy, 3 Acts, Geo. M. Cohan's, Sept. 23, 

1912, 11m. 4f. 

(See Cohan, under Musical Plays.) 



THE INFLUENCE OF THE DRAMA 145 

COLLIER, WILLIAM, 

Caught in the Rain, Col. Grant Stewart, Farce, 3 Acts, Garrick, 

Dec. 31, 1906, 9m. 4f. 161 times. 

Take My Advice, Col. James Montgomery, entertainment, 3 

Acts, Fulton, Nov. 27, 1911, 8m. 4f. times. 

I'll Be Hanged If I Do. See Selwyn, Edgar. 

The Patriot. See Manners, J. Hartley. 

On the Quiet. (Before this period.) 
COTTRELL, HARRY D„ 

The Judge and the Jury, Col. Oliver Morosco, Play, 4 Acts, Wal- 
laces, Sept. 1, 1906, m. f. 17 times. 
CRANE, WILLIAM H., 

Father and the Boys, Comedy, 4 Acts, Empire, March 2, 1908, 

10m. 6f. 88 times. 
CRANE, ELEANOR MAUD, 

Dorinda Dares, Play, 1 Act, Empire, March 14, 1912, 2m. 2f. 

American Academy of Dramatic Arts, Matinee. 
CRESSEY, WILL M., 

The Village Lawyer, Col. James Clarence Harvey, Rural Come- 
dy, 4 Acts, Garden, March 2, 1908, 15m. 4f. 17 times. 

Mr. Cressey is probably the most successful of all writers for 

the Vaudeville Stage.) 
COWLES, ALBERT, 

The Yellow Peril, Drama, 1 Act, Union Square, Sept. 16, 1912, 

4m. If. 
CUSHING, CATHARINE CHISHOLM, 

The Real Thing, Comedy, 3 Acts, Maxine Elliott's, Aug. 10, 

1911, 3m. 4f. times. 

CROTHERS, RACHEL, 

The Three of Us, Play, 4 Acts, Madison Square, Oct. 17, 1906, 

7m. 3f. 227 times. 

The Coming of Mrs. Patrick, Play, 4 Acts, Madison Square, 

Nov. 6, 1907, 6m. 6f. 13 times. 

Myself, Bettina, Play, 4 Acts, Daly's, Oct. 5, 1908, 4m. 5f. 

times. 

A Man's World, Play, 4 Acts, Comedy, Feb. 8, 1910, 5m. 3f. 

times. 
CHAMBER, H. KELLETT, 

The Right to Be Happy, Play, 3 Acts, Hudson, March 27, 1912, 

3m. 4f. times. 

(See Musical Plays.) 
CHALMERS, KELLETT, 

Abigail, Comedy, 4 Acts, Savoy, Feb. 21, 1905, 8m. 9f. 47 times. 

A Case of Frenzied Finance, Comedy, 4 Acts, Savoy, April 3, 

1905, 8m. 4f. 8 times. 

An American Widow, Comedy, 3 Acts, Hudson, Sept. 6, 1909, 

7m. 6f. times. 



146 THE INFLUENCE OF THE DRAMA 

D. 

DAY, EDMUND, 

The Round-Up, Drama, 4 Acts, New Amsterdam, Aug. 26, 1907, 

13m. 3f, 155 times. 

The Widow's Might, Comedy, 4 Acts, Liberty, Sept. 13, 1909, 

10m. 8f. times. 

DALE, GRETCHEN, 

Mrs. Avery, Col. Howard Estabrook, Comedy-Drama, 3 Acts, 

Weber's, Oct 23, 1911, 7m. 7f. times. 

DARK, STANLEY, 

Man and His Angel, Play Acts, Hackett, Sept. 18, 1906, 9m. 

4f. 7 times. 
DAVENPORT, BUTLER, 

Keeping Up Appearances, Comedy, 4 Acts, Comedy, Oct. 19, 

1910, 2m. 5f. times. 

DAVIES, HUBERT HENRY, 

Mrs. Goring's Necklace, Comedy, 4 Acts, Lyceum, Dec. 7, 1904, 

5m. 5f. 39 times. 

The Mollusc, Comedy, 3 Acts, Garrick, Sept. 1, 1908, 2m. 2f. 
times. 

The Mollusc, (Second Run) Empire, June 7, 1909, times. 

A Single Man, Comedy, 4 Acts, Empire, Sept. 4, 1911, 3m. 9f. 
times. 

Cousin Kate, Comedy, 3 Acts, (2nd Revival in New York,) Jan. 

29, 1912, 3m. 4f. times. 

DENNY, ERNEST, 

All-of-a-Sudden Peggy, Comedy, Bijou, Feb. 11, 1907, 6m. 5f. 

34 times. 
DE CROISSET, FRANCIS, and LEBLANC, MAURICE, 

Arsene Lupin, Play, 3 Acts, Lyceum, Aug. 26, 1909, 19m. 7f. 
times. 
DE LINA, C. A., MERLYN, IDA, and JORDAN, KATE, 

Papa Lebonnard, Play, (Adapted from French of Jean Areid), 
Acts, Bijou, April 28, 1908, 7m. 2f. 24 times. 
DE MILLE, CECIL B„ 

The Genius, See De Mille, William C. 

The Royal Mounted, Col. W. C. De Mille, Play, 4 Acts, Garrick, 

April 6, 1908, 9m. 3f. 32 times. 

(See Musical Plays.) 
DE MILLE, WILLIAM C, 

Strongheart, Comedy-Drama, Acts, Hudson, Jan. 30, 1905, 

13m. 3f. 66 times. 

The Genius, Col. Cecil De Mille, Farce-Comedy, 3 Acts, Bijou, 

Oct. 1, 1806, 7m. 6f. 43 times. 

Classmates, Col. Margaret Turnbull, Play, 4 Acts, Hudson, 

Aug. 29, 1907, 9m. 5f. 102 times. 

The Warrens of Virginia, Play, 4 Acts, Belasco, Dec. 3, 1907, 



THE INFLUENCE OF THE DRAMA 147 

12m. 5f. 190 times. 

The Royal Mounted, See De Mille, Cecil. 

The Woman, Play, 3 Acts, Republic, Sept. 19, 1911, 7 m. 2f. 
times. 
DAZEY, CHARLES T., 

Home Folks, Play, Acts, New York, Dec. 26, 1904, 6m. 6f. 

34 times. 

The Three Lights, See Robson, May. 

The American Lord, Col. George M. Broadhurst, Comedy, 4 

Acts, Hudson, April 23, 1906, 11m. 3f. 32 times. 

The Stranger, Comedy-Drama, 3 Acts, Bijou, Dec. 21, 1911, 8m. 

3f. times. 

DIX, BEULAH M., 

The Road to Yesterday, Col. E. G. Sutherland, Comedy of Fan- 
tasy, 4 Acts, Herald Square, Dec. 31, 1906, 8m. 6f. 153 times. 

The Lilac Room. See Sutherland, E. G. 
DICKSON, CHARLES, 

The Spellbinder. See Winslow, Herbert Hall. 

(See Dickson, under Musical Plays.) 
DIXON, THOMAS, Jr., 

The Clansman, Play, 4 Acts, Liberty, Jan. 8, 1906, 16m. 4f. 51 

times. 

(Also Author of one or two other plays familiar on the road.) 
DE ANGELIS, JEFFERSON, 

All at Sea, Playlet, 1 Act, Proctor's, Aug. 26, 1912, 4m. If. 
DOTY, CHARLES W., 

Common Sense Bracket, Rural Play, Acts, Fourteenth 

Street, Dec. 26, 1904, 7m. 3f. 14 times. 
DOREMUS, MRS. CHARLES A., 

The Fortunes of the King, Col. Leonidas Westervelt, Melo- 
drama, 4 Acts, Lyric, Dec. 6, 1904, lm. 3f. 38 times. 
DOYLE, SIR ARTHUR CONAN, 

Brigadier Gerard, Comedy, 4 Acts, Savoy, Nov. 5, 1906, 16m. 

2f. 16 times. 

The Fires of Fate, Morality Play, 4 Acts, Liberty, Dec. 28, 

1909, 13m. 3f. times. 

The Speckled Band, Play, 3 Acts, Garrick, Nov. 21, 1910, 16m. 

2f. times. 

Waterloo, Play, 1 Act, 3m. If. (Used as curtain-raiser by the 

late Sir Henry Irving.) 
DUMAY, HENRY, 

Mademoiselle Marni, Comedy, Acts, Wallacks, March 6, 

1905, 18m. 6f. 32 times. 
DU MAURIER, MAJOR GUY, 

Trilby (Revived), New Amsterdam, 1905. 

An Englishman's Home, Play, 3 Acts, Criterion, March 22, 1909, 

16m. 3t times, 



148 THE INFLUENCE OF THE DRAMA 



DTT SUCHET, H. A., 

Who Goes There? Farce, 3 Acts, Princess, Feb. 26, 1905, 9m. 

5f. 24 times. 

The Man from Mexico, (Revived) Farce, 3 Acts, Garrick, May 

10, 1909, 10m. 4 f. times. 

DRURY, MAJOR, W. P., and TREVOR, LEO, 

The Flag Lieutenant, Comedy, 4 Acts, Criterion, Aug. 30, 1909, 

18m. 5f. times. 

DUNCAN, WILLIAM CARY, and ELLIS, EDWARD, 

The Phantom Burglar, 1 Act, Playhouse, April 26, 1912, 4m. If. 

Quits, 1 Act, Playhouse, April 26, 1912, 2m. If. 
DAVIS, HARTLEY, 

The World, the Flesh, and the Tailor, Play, 4 Acts, Hudson, 

Jan. 8, 1912, 6m. 5f. times. 

DAVIS, OWEN, 

Making Good, Drama, 4 Acts, Fulton, Feb. 5, 1912, 12m. 4f. 
times. 
DAVIS, ROBERT H., 

The Family, Play, 3 Acts, Comedy, Oct. 11, 1910, 3m. 3f. 

times. 
DAVIS, RICHARD HARDING, 

The Galloper, Play, Garden, Feb. 22, 1906, 10m. 4f. 76 times. 

(See Musical Plays.) 
DITRICHTSTEIN, LEO, 

Military Mad, Comedy, 3 Acts, (German of Franz von Schon- 

than), Garrick, Sept. 5 1904, 14m. 8f. 16 times. 

Before and After, Farce, 3 Acts, Manhattan, Dec. 12, 1905, 7m. 

6f. 72 times. 

The Ambitious Mrs. Alcott, Col. Percival Pollard, Comedy, 4 

Acts, Astor, April 1, 1907, 6m. 4f. 24 times. 

Bluffs, Farce, 3 Acts, Bijou, March 26, 1908, 6m. 7f. 12 times. 

Is Matrimony a Failure? Comedy, 3 Acts, (from German) Belas- 

co, Aug. 24, 1909, 11m. 12f. times. 

The Concert, Comedy, 3 Acts, (From German of Herman 

Bahr) Belasco, Oct. 4, 1910, 3m. 12f. times. 
DODD, LEE WILSON, 

The Return of Eve, Fantasy, 3 Acts, Herald Square, March 27, 

1909, 7m. lOf. times. 

DE FOREST, MARIAN, 

Little Women, (Dramatized from Louisa M. Alcott's Story) 

Playhouse, Oct. 16, 1912, 5m. 7f. 
DODGE, HENRY IRVING, 

The Higher Court, American Play, 3 Acts, Maxine Elliott's, 

Oct. 6, 1912, 15m. 4f. (Auspices National Federation of Theatre 

Clubs). 



THE INFLUENCE OF THE DRAMA 149 

DOYLE, JOHN T., 

Putting One Over, Sketch, 1 Act, Fifth Avenue, July 29, 1912, 

3m. If. 12 times. 

E. 
ELLIS, EDITH, (BAKER), 

Mary and John, Comedy, 3 Acts, Manhattan, Sept. 11, 1905, 5m. 

5f. 12 times. 

Mary Jane's Pa, Comedy-Drama, 3 Acts, Garden, Dec. 1908, 9m. 

5f. times. 

Seven Sisters, Farce, 4 Acts, (From Hungarian of Ferencz 

Herczegh, Trans, by Ferike Boros,) Lyceum, Feb. 20, 1911, 

7m. 8f. times. 

ESMOND, H. V., 

Love and the Man, Play, 5 Acts, Knickerbocker, Feb. 20, 1905, 

9m. 4f. 22 times. 

Grierson's Way, Play, 4 Acts, Princess, Jan. 18, 1906, 4 m. 3f. 

12 times. 

When We Were Twenty-One, Comedy, (First Presented in Lon- 
don, at Comedy Theatre,) Sept. 2, 1901, 10m. 4f. (N. Y. per- 
formances were about the same date.) 
EAGAN, LOUIS, 

Jack's Little Surprise, Farce, 3 Acts, Princess, Aug. 5, 1904, 

13m. 5f. 21 times. 
ERVINE, ST. GEORGE G., 

Mixed Marriage, Drama, 4 Acts, Maxine Elliott's, Dec. 11, 1911, 

4m. 2f. times. 

ESTABROOK, HOWARD, 

Mrs. Avery. See Dale, Gretchen. 
EGERTON, GEORGE, 

The Whirlwind. See Bernstein, Henri. 

My Wife's Family, Comedy, 3 Acts, Hackett, May 31, 1909, 

3m. 5f. times. 

The Daughter of Heaven. See Loti, Pierre. 

The Attack. See Bernstein, Henri. 

F. 

FITCH, CLYDE, 
The Climbers, 
Her Own Way, 

The Stubborness of Geraldine, Acts, Garrick, 1903. 

The Coronet of the Duchess, Comedy, Acts, Garrick, Sept. 
21, 1904, 5m. lOf. 19 times. 

Granny, Play, 4 Acts, Lyceum, Oct. 24, 1904, 5m. 5f. (Taken from 
French L'Aieule by Georges Mitchell). 24 times. 
Cousin Billy, Comedy, 4 Acts, (Adapted from Le Voyage de M. 
Perrichon by Labiche and Martin,) Criterion, Jan. 2, 1905, 3m. 
3f. 76 times. 
The Woman in the Case, Play, 4 Acts, Herald Square, Jan. 3, 



150 THE INFLUENCE OF THE DRAMA 



1905, 7m. 6f. 89 times. 

Her Great Match, Comedy, 4 Acts, Criterion, Sept. 4, 1905, 6m. 
5f. 93 times. 

The Toast of the Town, Play, 4 Acts, Daly's, Nov. 27, 1905, 
4m. 4f. 38 times. 

The House of Mirth, Play, 4 Acts, (From Mrs. Wharton's Nov- 
el), Savoy, Oct. 22, 1906, 7m. 7f. 14 times. 
The Girl Who Has Everything, Comedy, 4 Acts, Liberty, 
Dec. 4, 1906, 4m. 5f. 48 times. 

The Straight Road, Play, 4 Acts, Astor, Jan. 7, 1907, 4m. 6r. 
40 times. 

The Truth, Comedy, 4 Acts, Criterion, Jan. 7, 1907, 5m. 4r. 
34 times. 

Her Sister, Col. Cosmo Gordon-Lennox, Play, Acts, Hudson, 
Dec. 24, 1907, 4m. 6f. 61 times. 

Toddles, Farce, 3 Acts, (From Tristan Bernard and Andre 
Godfernaux,) Garrick, March 16, 1908, 12m. 8f. 16 times. 
Girls, Comedy, 3 Acts, Daly's, March 23, 1908, 12m. 8f. 64 
times. 

The Blue Mouse, Comedy, 3 Acts, (Adapted from German of 
Alex. Engel and Julius Horst,) Lyric, Nov. 30, 1908, 9m. 5f. 

times. 
The Bachelor, Comedy, 3 Acts, Maxine Elliott's, March 15, 

1909, 4m. 3f. times. 

The Happy Marriage, Comedy, 3 Acts, Garrick, April IS, 1909, 
6m. 3f. times. 

The City, Play, 3 Acts, Lyric, Dec. 21, 1909, 7m. 5f. times. 
FORBES, JAMES, 
The Chorus Lady, Play, 4 Acts, Savoy, Sept. 1, 1906, 8m. 5f. 
348 times. 

The Traveling Salesman, Comedy, 4 Acts, Liberty, Aug. 10, 
1908, 14m. 2f. 
The Commuters, Farcical Comedy, 4 Acts, Criterion, Aug. 15, 

1910, 6m. 9f. times. 
FORD, HARRIET, 

The Fourth Estate. See Patterson, Joseph Medill. 
FEYDEAU, GEORGES, 

The Lady from Lobster Square, Farce, 3 Acts, Weber's, April 

4, 1910, 8m. 6f. times. 

FISKE, MRS. MINNIE MADDERN, 

The Eyes of the Heart, Drama, One Act, Manhattan, March 

27, 1905, 4 Matinees. 

The Rose, Drama, One Act, Manhattan, 1905, 4 Matinees. 

A Light from St. Agnes, Drama, One Act, Manhattan, 3 

IVIatinees 

The Eyes of the Heart and A Light from St. Agnes were 

revived at the Manhattan, Matinee, April 24, 1906.) 



THE INFLUENCE OF THE DRAMA 151 

FULDA, LUDWIG, 

Maskerade, Drama, Irving Place (in German), 1906. 

FENN, FREDERICK, 

'Op o' Me Thumb, Play, 1 Act, Col. Richard Bryce, Empire, 

Feb. 6, 1905, lm. 5f. 30 times. 
FAIRFAX, MARION, 

The Builders, Play, 4 Acts, Astor, May 20, 1907, 15m. 3f. 17 

times. 

The Chaperon, Comedy, 3 Acts, Maxine Elliott's, Dec. 30, 1908, 

8m. 8f. times. 

The Talker, Play, 3 Acts, Harris, Jan. 8, 1912, 4m. 4f. 

times. 
FRESKA, FREDERICK, 

Sumurtm, Wordless Play, in 9 Scenes, Music by Victor Hol- 

laender, Casino, Jan. 16, 1912, 10m. lOf. times. 

FAY, F. C, (MADAME) 

The Right to Happiness, Comedy, 3 Acts, (Trans, from Cha- 

cun Sa Vie, by Gustave Guiche and P. B. Gheusi), Bijou, Jan 

11, 1912, 10m. 5f. times. 

FURNISS, GRACE LIVINGSTON, 

The Man on the Box, Comedy, 3 Acts, (From Harold Mac- 

Grath's Novel) Madison Square, Oct. 3, 1905, 8m. 2f. 123 

times. 

The Man on the Case, Comedy, 3 Acts, Madison Square, Sept. 

4, 1907, 7m. 5f. 21 times. 
FRIEDMAN-FRIEDERICH, FRITZ, 

Mayer's, Farce, 3 Acts, Irving Place (in German,) Feb. 19, 

1912, 12m. 7f. times. 

FONSON, FRANTZ, and WICHELER, FERNAND, 

Suzanne, Comedy, 3 Acts, (Adapted by Haddon Chambers,) 

Lyceum, Dec. 26, 1910, 12m. 4f. times. 

FLEXNER, ANNIE CRAWFORD, 

Miranda of the Balcony, Drama, (From Novel of A. E. W. 

Mason.) (This Play was long used by Mrs. Fiske.) 

Mrs. Wiggs of the Cabbage Patch, (From Novel of Alice 

Hegan Rice.) Savoy, Sept. 3, 1904, 13m. Ill 150 times. 

A Lucky Star, (From Novel The Motor Chaperon, by C. N. 

and A. M. Williamson,) Farce, 4 Acts, Hudson, Jan. 18, 1910, 

6m. 8f. times. 

FAGAN, JAMES BERNARD, 

Hawthorne of the U. S. A., Romantic Farce, 4 Acts. Astor 

Theatre, Nov. 4, 1912, 15m. 3f. 

G. 

GREENE, ROBERT, 
Frier Bacon and Frier Bongay, Comedy-Drama, Brinkerhoff 
Theatre, (Columbia University Students), Nov. 17, 1911, 20m. 



152 THE INFLUENCE OP THE DRAMA 



5f. (This Play is inserted for record.) 
GERSTENBERG, ALICE, 

Captain Joe, Comedy, 4 Acts, (Permission of Mrs. Helen Mc- 

Caffry), Empire, Feb. 8, 1912, 5m. 14f. American Academy of 

Dramatic Art Students, Matinee. 
GREGORY, LADY AUGUSTA, 

The Rising of the Moon, Play, 1 Act, Maxine Elliott's, Nov. 20, 

1911, 4m. times. 

Spreading the News, Comedy, 1 Act, Maxine Elliott's Nov. 

20, 1911, 7m. 3f. times. 

The Jail Gate, Tragedy, 1 Act, Maxine Elliott's, Nov. 27, 1911, 
times. 

The Workhouse Ward, Comedy, 1 Act, Maxine Elliott's, Dec. 

1, 1911, 2m. If. times. 

Hyacinth Halvey, Comedy, 1 Act, Maxine Elliott's, Dec. 15, 

1911, 4m. 2f. times. 

The Jackdaw, Comedy, 1 Act, Maxine Elliott's, Dec. 14, 1911, 
4m. 2f. times. 

The Image, Comedy, 3 Acts, Maxine Elliott's, Dec. 21, 1911, 
5m. 2f. times. 

(Note: — All the above plays were presented by the Irish 
Players from Abbey's Theatre, Dublin, Ireland.) 
GALSWORTHY, JOHN, 

The Silver Box, Play, 3 Acts, Empire, March 18, 1907, 11m. 8f. 

20 times. 

Strife, Play, 3 Acts, New Theatre, Nov. 17, 1909, 20m. 7f. 

times. 

The Pigeon, Comedy, 3 Acts, The Little Theatre, March 11, 

1912, 10m. 2f. times. 
GILLETTE, WILLIAM, 

Clarice, Comedy-Drama, Acts, Garrick, Oct. 16, 1906, 4m. 

3f. 79 times. 

Electricity, Play, 3 Acts, Lyceum, Oct. 31, 1910, 7m. 5f. 

times. 

Secret Service. 
GOODMAN, JULES ECKERT, 

The Man Who Stood Still, Play, 4 Acts, Circle, Oct. 15, 1908, 

8m. 5f. times. 

Mother, Play, 4 Acts, Hackett, Sept. 7, 1910, 6m. 5f. times. 

The Point of View, Drama, 4 Acts, 48th Street, Oct. 25, 1912, 

3m. 5f. 
GOLDEN, JOSEPH A., 

The Countess Nadine, 1 Act, Fifth Ave., Sept. 9, 1912, 3m. If. 
GIBSON, PRESTON, 

The Turning Point, Comedy-Drama, 3 Acts, Hackett, Feb. 28, 

1910, 5m. 4f. times. 



THE INFLUENCE OF THE DRAMA 153 

GA VAULT, PAUL, 

My Wife, Col. Charnay, Comedy, 4 Acts, (Adapted by Michael 

Morton.) Empire, Aug. 3, 1907, 11m. 5f. 128 times. 

The Richest Girl, Col. Michael Morton, Play, 4 Acts, Criterion, 

March 1, 1909, 10m. 4f. times. 

GOLDSMITH, OLIVER, 

She Stoops to Conquer, Comedy, 5 Acts, New Amsterdam, 

April 1, 1905, 15m. 4f. times. 

GORDIN, JACOB, 

The Kreutzer Sonata, Drama, 5 Acts, Manhattan, Aug. 13, 

1906, 5m. 6f. 46 times. 
GOTTSCHALK, FERDINAND, 

The Love Letter, Drama, (French of Victorien Sardou), Lyric, 

Oct. 9, 1906, 10m. 5f. 23 times. 
GRAVES, CLOTILDE, 

A Tenement Tragedy, 1 Act Drama, Liberty, Nov. 20, 1906, 

2m. 2f. (Played after Susan in Search of a Husband). 6 times. 
GRAY, DAVID, 

Gallops, Comedy, 4 Acts, Garrick, Feb. 12, 1906, 7m. 3f. 

times. 
GRUNDY, SYDNEY, 

Dolly's Accomplishments, Operetta, 1 Act, Oct. 7, 1904, 3m. 3f. 

Empire, (Matinee of Stanhope-Wheatcroft Students of Acting.) 
GRANVILLE, TAYLOR, 

The System, Playlette in 3 Scenes, (in collaboration with 

McCree and Clark), Keiths Union Square, Sept. 30, 1912, 12m. 

3f. 
GRILLPARZER, 

Des Meeres Und Der Liebe Wellen, (Hero and Leander), 

Classic Tragedy, 5 Acts, Irving Place, Sept. 26, 1912, 6m. 3f. 
GANGHOFER, LUDWIG, 

Der Zweite Schartz, (The Second Lover), Comedy-Drama, 4 

Acts, Irving Place, 7m. 7f., (Oberammergauer Peasant Players.) 
GILLINGWATER, CLAUDE, 

The Awakening of Minerva, 1 Act, Colonial, Sept. 9, 1912, 2m. 

3f. 

H. 

HITCHENS, ROBERT, 

Vanity Fair, Col. Cosmo Gordon-Lennox, Dramatization of 

Thackeray's Novel, in 7 Scenes, New Theatre, Jan. 7, 1911, 

13m. 13f. times. 

The Garden of Allah, Col. Mary Anderson, Dramatization of 

Mr. Hitchen's Novel, 4 Acts, New Century, Oct. 21, 1911, 16m. 

If. times. 

HOBART, GEORGE V., 

Mrs. Black is Back, Comedy, 3 Acts, Bijou, Nov. 7, 1904, 6m. 



154 THE INFLUENCE OF THE DRAMA 

4f. 71 times. 

Mrs. Wilson, Comedy, 3 Acts, Bijou, Nov. 5, 1906, 9m. lOf. 59 

times. 

Wildfire. See Broadhurst, George M. 

Welcome to Our City, Farce, 3 Acts, (from German) Bijou, 

Sept. 12, 1910, m. f. times. 

(See also under Musical Plays.) 
HACKETT, WALTER, 

The Regeneration. See Kildare, Owen. 

The White Sister, Play, 4 Acts, (From F. Marion Crawford's 

Novel) Daly's, Sept. 27, 1909, 6m. 4f. times. 

Our World, Play, 4 Acts, Garrick, Feb. 6, 1911, 4m. 4f. 

times. 
HAMILTON, COSMO, 

The Proud Laird, Col. Charles Cartwright, Comedy, 3 Acts, 

Manhattan, April 24, 1905, 7m. 5f. 7 times. 

The Master Key, Play, 4 Acts, Bijou, Oct. 4, 1909, 9m. 4f. 

times. 

The Blindness of Virtue, Play, 4 Acts, 39th Street, Oct. 28, 

1912, 5m. 3f. 
HOPWOOD, AVERY, 

Clothes, Col. Channing Pollock, Play, 4 Acts, Manhattan, Sept. 

11, 1906, 6m. 7f. 113 times. 

This Woman and This Man, Play, 3 Acts, Maxine Elliott's, Feb. 

22, 1909, 4m. 2f. times. 

Seven Days. See Roberts, Mary Reinhart. 

Nobody's Widow, Comedy, 3 Acts, Hudson, Nov. 15, 1910, 4m. 

4f. times. 
HUTCHENS, ROBERT, 

Business is Business, Drama, 3 Acts, (Octave Mirebeau's Les 

Affaires, Les Affaires), Criterion, Sept. 19, 1904, 14m. 6f. 57 

times. 
HOFFE, MONCKTON, 

The Little Damozel, Play, 3 Acts, Comedy, Sept. 24, 1910, 8m. 

2f. times. 

HALSEY, FOREST, 

My Man, Drama, 4 Acts, Bijou, Sept. 27, 1910, 4m. 4f. times. 

HOLZMANN, HANS WERNER, 

Snendige Liab, Folk-Drama, 3 Acts, Irving Place, April 25, 

1912, 10m. 3f. (Oberammergauer Peasant Players.) 
HOPKINS, ARTHUR, 

The Fatted Calf, Comedy, 3 Acts, 4 Scenes, Daly's, Feb. 20, 

1912, 4m. 4f. times. 

Moonshine, 1 Act, Alhambra, Sept. 16, 1912, 2m. 
HERFORD, OLIVER, 

The Florist Shop, Farce, 3 Acts, Liberty, Aug. 9, 1909, 13m. 

12f. times. (German of Alex. Engell and Julius Horst.) 



THE INFLUENCE OF THE DRAMA 155 

Con & Co., Comedy, 3 Acts, Nazimova's, Sept. 20, 1910, 11m. 4f. 
times. (French of Armont, Nancey and Gavault.) 
HAUPTMANN, GERARD, 

The Sunken Bell, Poetic Drama, 5 Acts, Lyric, Feb. 5, 1907, 

6m. 9f. times. 

Hannele, Dream Poem in 2 Acts. (Trans, by Mary S. Safford, 

Metrical Passages by Percy Mac Kaye), Lyceum, April 11, 

1910, 11m. 9f. times. 

HUNT, CARL W., 

The Road to Mandalay, Farce, 4 Acts, West End, July 15, 1912, 

11m. 4f. 
HARRIS, ELMER, 

Sham, See Bonner, Geraldine. 

Thy Neighbor's Wife, Comedy, 3 Acts, Lyceum, Sept. 5. 1911, 

2m. 2f. times. 

Trial Marriage, Play, 3 Acts, Hudson, Oct. 29, 1912, 6m. 4f. 
HUGHES, RUPERT, 

The Triangle, Play, 4 Acts, Manhattan, Feb. 26, 1906, 6m. 4f. 

14 times. 

All for a Girl, Play, 4 Acts, Bijou, Aug. 22, 1909, 9m. 6f. times. 

The Bridge, Play, 4 Acts, Majestic, Sept. 4, 1909, 13m. 6f. 

times. 

Two Women, Play, 4 Acts, (Adapted from T. Cicconi), Lyric, 

November 29, 1910, 8m. 4f. times. 

Excuse Me, Farce, 3 Acts, Gaiety, Feb. 13, 1911, 17m. 7f. 

times. 

Miss 318, Playlet, 1 Act, 5th Ave., May 27, 1912, 6m. 3f. 
HEMMERDE, EDWARD G., 

The Butterfly on the Wheel, Col. K. C. and Francis Nelson, M. 

P., Drama, 4 Acts, Thirty-Ninth Street, Jan. 9, 1912, 11m. 3f. 
times. 
HERVIEU, PAUL, 

The Awakening, Play, 3 Acts, Daly's, Feb. 10, 1908, 7m. 6f. 8 

times. 

The Enigma, Play, 2 Acts, Daly's, Feb. 20, 1908, 6m. 2f. 4 times. 

Know Thyself, Play, 3 Acts, (Trans, from Connais-Toi by Al- 
gernon Boyesen), Berkeley Lyceum, Dec. 27, 1909, 5m. 2f. 

times. 

The Labyrinth, Play, 4 Acts, Herald Square, Nov. 27, 1905, 5m. 

4f. 16 times. 
HORAN, JAMES, 

The Little Church Around the Corner, Playlet, Fifth Avenue, 

Aug. 19, 1912, lm. 3f. 
HASTINGS, B. MALCOM, 

The New Sin, Play, 4 Acts, Wallack's, Oct. 15, 1912, 7m. 
HURLBUT, WILLIAM J., 

The Fighting Hope, Play, 3 Acts, Stuyvesant, Sept 22, 1908, 



156 THE INFLUENCE OF THE DRAMA 

3m. 2f. times. 

The Writing on the Wall, Drama, 4 Acts, Savoy, April, 26, 1909, 

6m. 4f. times. 

New York, Drama, 3 Acts, Bijou, Oct. 17, 1910, 4m. 4f. times. 
HOWARD, GEORGE BRONSON, 

The Only Law. See Mizner, Wilson. 

Snobs, Farce, 3 Acts, Hudson, Sept. 4, 1911, 8m. 5f. times. 

HAZELTON, GEO. C. and BENRIMO, J. HARRY, 

The Yellow Jacket, Chinese Play presented in Chinese Man- 
ner, 3 Parts, Music Wm. Furst, Fulton, Nov. 4, 1912, 14m. 12f. 
HAMILTON, CICELY, 

Diana of Dobson's, Comedy, 4 Acts, Savoy, Sept. 5, 1908, 5m. 

9f. times. 

Just to Get Married, Comedy, 3 Acts, Maxine Elliott's, Jan. 1, 

1912, 5m. 5f. times. 

HALBE, MAX, 

Im Bunten Rock (In Uniform), Irving Place, (in German). 

Der Strom, (The Storm), Irving Place, (in German). 
HARVEY, JAMES CLARENCE, 

The Great Name, Comedy, 3 Acts (From German of Victor 

Leon and Leo Feld), Lyric, Oct. 4, 1911, 11m. 6f. times. 

HARLAN, OTIS, 

A Broken Idol, Musical Farce, 2 Acts, Herald Square, Aug. 

16, 1909, 8m. 5f. times. 

HORNIMANN, RAY, 

Idols, Play, 4 Acts, Bijou, Nov. 1, 1909, 11m. 5f. times. 

HERNE, JULIE, 

Richter's Wife, Play, 4 Acts, Manhattan, Feb. 27, 1905, 4m. 

4f. 5 times. 
HEYERMAN, H., 

A Case of Arson, Play, 1 Act, Madison Square, Jan. 9, 1906, 9m. 

(All impersonated by the one man), 32 times. 
HEATON, HAROLD, 

Lady Jim, Comedy, 3 Acts, Weber's, Aug. 28, 1906, 4m. 4f. 23 

times. 
HAINES, GENEVIEVE G., 

Once Upon a Time, Comedy, 3 Acts, Berkeley Lyceum, Jan. 2, 

1905, 6m. 2f. 8 times. 
HENNEGAIN and VEBER, 

Twenty Days in the Shade, Farce, 3 Acts, Savoy, Jan. 20, 1908, 

7m. 5f. 64 times. (This is really a new version of The Man from 

Mexico. See Du Suchet.) 

I. 
IBSEN, HENRIK, 

When We Dead Awaken, Dramatic Epilogue, 3 Acts, Knicker- 
bocker, March 7, 1905, 3m. 3f. 6 times. 

A Doll's House, Play, 3 Acts, New Lyceum, May 2, 1905, 3m. 



THE INFLUENCE OF THE DRAMA 157 

4f. times. 

A Doll's House, (Revived) Daly's, 1908. times. 

Hedda Gabler, Play, 4 Acts, Princess, Nov. 13, 1906, 3m. 4f. 
times. 

Peer Gynt, Dramatic Poem, 6 Acts, New Amsterdam, Feb. 25, 

1907, 17m. llf. 22 times. 

The Vikings at Hilgeland, Drama, 4 Acts, Empire, March 22, 

1907, Matinee of American Academy of Dramatic Arts. 

The Pretenders, Drama, 5 Acts, Waldorf-Astoria Hotel, April 

2, 1907, Yale College Dramatic Society. 

The Master Builder, Play, 3 Acts, Bijou, Sept. 23, 1907, 4m. 3f. 

67 times. 

Rosmersholm, Drama, 4 Acts, Lyric, Dec. 30, 1907, 4m. 2f. 30 

times. 

The Lady from the Sea, Drama, 5 Acts, Lyric, Nov. 6, 1911, 

5m. 3f. times. 

Pillars of Society, Play, 4 Acts, Lyceum, March 28, 1910, 12m. 

9f. times. 

Little Eyolf, Drama, 3 Acts, Nazimova's Thirty-Ninth Street, 

April 18, 1910, 3m. 3f. times. 

Ghosts, Drama, 3 Acts, 3m. 2f. 

An Enemy of Society, Play, 5 Acts, 9m. 2f. 

The Wild Duck, Drama, 5 Acts, 12m. 3f. 

The Young Men's League, Play, 5 Acts, 12m. 6f. 
IRVING, LAURENCE, 

The Fool Hath Said in His Heart, There Is No God, Drama, 

5 Acts, (from Dostoievsky's Novel, Crime and Punishment), 

Lyric, March 9, 1908, 17m. 4f. 7 times. 

The Incubus, (afterward named The Affinity), Comedy, 3 Acts, 

(French of Eugene Brieux, whom see.) Hackett, April 27, 1909, 

5m. 4f. Matinee (afterwards revived with success.) 

Three Daughters of M. Dupont. See Brieux, Eugene. 

J. 
JAMES, HENRY, 

Disengaged, Comedy, 3 Acts, Hudson, March 11, 1909, 5m. 4f. 
times. 
JOHNSTON, MARY, 

The Goddess of Reason, Play, 5 Acts, Daly's, Feb. 15, 1909, 

12m. 8f. times. 

JOHNSON, OWEN, 

The Comet, Play, 3 Acts, Bijou, Dec. 30, 1907, 3m. 3f. 56 times. 

A Comedy for Wives, Comedietta, 1 Act, Victoria, Oct. 14, 

1912, 2m. If. 
JONES, ARCHER, 

In The Long Run, Comedy, 3 Acts, Comedy, Dec. 3, 1909, 4m. 

5f. Trial Matinee. 
JENSSEN, H. WEIRS, 

The Witch, Drama, 4 Acts, (Adapted by Herman Hagerdorn), 



158 THE INFLUENCE OF THE DRAMA 



New Theatre, Feb. 14, 1910, 11m. 7f. times. 

JACOBS, W. W., 

Beauty and the Barge, Col. Louis N. Parker, Farce, 3 Acts, 

New Lyceum, Sept. 6, 1905, 8m. 2f. 12 times. 
JEROME, JEROME K., 

The New Lady Bantock, Comedy, 4 Acts, Wallack's, Feb. 8, 

1909, 6m. 12f. times. 

The Passing of the Third Floor Back, (Dram, from his own 

story) Play, 3 Acts, Maxine Elliott's, Oct. 4, 1909, 5m. 6f. 

times. 
JONES, HENRY ARTHUR, 

Joseph Entangled, Comedy, 3 Acts, Garrick, Oct. 11, 1904, 8m. 

4f. 65 times. 

The Hypocrites, Drama, 4 Acts, Hudson, Aug. 30, 1906, 8m. 6f. 

217 times. 

The Evangelist, Tragi-Comedy, 4 Acts, Knickerbocker, Sept. 

30, 1907, 11m. 8f. 19 times. 

We Can't Be As Bad As All That, Play, 3 Acts, Nazimova's 

39th Street, Dec. 30, 1910, 7m. 7f. times. 

Lydia Gilmore, Drama, 4 Acts and 5 Scenes, Lyceum, Feb. 1, 

1912, 12m. 5f. times. 

The Silver King. 

The Liars. 
JAMES, EDGAR, 

The Master of the House, American Comedy, 4 Acts, (from 

German source) 39th Street, Aug. 22, 1912, 6m. 6f. 
JORDAN, KATE, 

Susan's Gentleman, Comedy, 1 Act, Proctor's, Aug. 5, 1912, 2m. 

If. 

K. 
KUMMER, FREDERICK ARNOLD, 

Mr. Buttles, Comedy, 3 Acts, Weber's, Jan. 20, 1910, 7m. 7f. 

The Brute, Play, 3 Acts, 39th Street, Oct. 8, 1912, 4m. 4f. 

The Diamond Necklace, 1 Act, Union Square, Sept. 16, 1912, 

3m. 2f. 
KESTER, PAUL, 

Dorothy Vernon of Haddon Hall, Romantic Drama, Acts, 

(From Novel by Charles Major), Lyric, Dec. 14, 1904, m. f. 

40 times. 

Don Quixote, Drama, Acts, (From Cervantes' Spanish Novel) 

Lyric, April 8, 1908, 19m. 7f. 13 times. 

When Knighthood Was In Flower, (Revived) Romantic Drama, 
Acts, m. f. Carnegie Lyceum, 1908, times. 

KILDARE, OWEN, 

The Regeneration, Col. Walter Hackett, Play, 4 Acts, Wal- 
lack's (From Novel My Mamie Rose, oy Kildare), Sept. 1, 1908, 

JOm, 6f. times, 



THE INFLUENCE OF THE DRAMA 159 

KNOBLAUCH, EDWARD, 

The Shulamite. See Askew, Claude. 

The Cottage in the Air, Comedy, 4 Acts, New Theatre, Nov. 

11, 1909, 10m. 6f. times. 

The Faun, Play, 3 Acts, Daly's, Jan. 16, 1911, 7m. 4f. times. 

Kismet, Arabian Night, Acts, 10 Scenes, Knickerbocker, Dec. 

25„ 1911, 19m. llf. times. 

Milestones. See Bennett, Arnold. 

Discovering America, Play, 4 Acts, Daly's, Sept. 7, 1912, 9m. 

5f. 
KADELBURG, GUSTAVE, 

The Girl He Couldn't Leave Behind Him, Farce, 3 Acts, Gar- 
rick, March 9, 1910, 8m. 6f. times. 
KEITH, NORA, 

The Trifler. See Carson, Murray. 
KENYON, CHARLES, 

Kindling, Play, 3 Acts, Daly's, Dec. 5, 1911, 6m. 6f. times. 

KAMPF, LEOPOLD, 

Am Vorabend (On the Eve), Drama, 3 Acts, German Theatre, 

(In German), Dec. 20, 1907, 12m. lOf. 6 times. 
KNOWLES, SHERIDAN, 

Viginius, Tragedy, 5 Acts (Revived), Lyric, Sept. 16, 1907, 16m. 

3f. 26 times. 
KRAATZ, C, 

The Mountain Climber, Col. M. Neal, Farce, 3 Acts, Criterion, 

March 13, 1906, 10m. 5f. 79 times. 
KNIGHT, PERCIVAL, 

Detective Keen, Melodramatic Farce, 1 Act, Union Square, 

July 1, 1912, 4m. If. 
KIDDER, EDWARD E., 

Easy Dawson, Comedy, 4 Acts, Wallack's, Aug. 22, 1905, 6m. 

6f. 56 times. 
KENNEDY, CHARLES RANN, 

The Servant in the House, Play, 5 Acts, Savoy, March 23, 

1908, 5m. 2f. 64 times. 

The Winter Feast, Play, 5 Acts, Savoy, Nov. 30, 1908, 5m. 2f. 
times. 

The Flower of the Palace of Han, Chinese Drama (Chinese 

Play by Ma Tcheu-Yuen, adapted into French by Lois Laloy), 

Little Theatre, March 19, 1912, 12m. 3f. times. 

The Terrible Meek, Episode in 1 Act, Little Theatre, March 19, 

1912, 2m. If. times. 

KLEIN, CHARLES, 

The Music Master, Drama, 3 Acts, Belasco, Sept. 26, 1904, 14m. 

6f. 694 times. 

The Lion and the Mouse, Play, 4 Acts, Lyceum, Nov. 20, 1905, 

10m, 8f. 686 times. 



160 THE INFLUENCE OF THE DRAMA 

The Daughters of Men, Play, 3 Acts, Astor, Nov. 19, 1906, 

10m. 3f. 67 times. 

The Step-Sister, Play, 3 Acts, Garrick, Oct. 14, 1907, 6m. 7f. 

14 times. 

The Third Degree, Play, 4 Acts, Hudson, Feb. 1, 1909, 11m. 2f. 
times. 

Maggie Pepper, Play, 3 Acts, Harris, Aug. 31, 1911, 8m. 9f. 
times. 

The Next of Kin, Play, 3 Acts, Hudson, Dec. 27, 1909, 8m. 5f. 
times. 

The Gamblers, Play, 3 Acts, Maxine Elliott's, Oct. 31, 1910, 

12m. 5f. times. 

The Ne'er Do Well, Play (from Rex Beach's Novel), Lyric, 

Sept. 2, 1912, 30m. 7f. 
KUESCHLER, KURT, 

Sommerspuk (Summer Nonsense), Farce, 4 Acts, Irving Place, 

Oct. 15, 1912, 12m. 12f. 
KRAFFT, HELEN, and MANDEL, FRANK, 

Our Wives, Comedy, 3 Acts (from German), Wallack's, Nov. 4, 

1912, 5m. 4f. 

L. 
LITTELL, PHILIP, 

Septimus, Play, 4 Acts (Adapted from Novel by W. J. Locke), 

Hackett, Nov. 22, 1909, 5m. 7f. times. 

The Green Cockatoo, Grotesquerie, 1 Act (Trans, from Arthur 

Schnitzler), Col. George Rublee, Lyceum, April 11, 1910, 15m. 

3f. times. 

LONG, JOHN LUTHER, 

Adrea. See Belasco, David. 

Dolce, Comedy, 1 Act, Manhattan, April 24, 1906, 2m. If. 4 times. 

Kassa, Drama, 3 Acts, Liberty, Jan. 23, 1909, 11m. 7f. times. 

Mme. Butterfly (Produced before this period.) 
LAW, ARTHUR, 

The New Boy, Farce, 3 Acts, 6m. 3f. Terry's, London, Feb. 

21, 1894, times. 

(This play is in the list to keep a record of this rather promi- 
nent English Dramatist.) 
LYTTON, BULWER, 

Richelieu, Drama, 5 Acts (Revived) Daly's, March 29, 1909, 

14m. 2f. times. 

LENNOX, COSMO GORDON-, 

Vanity Fair. See Hitchens, Robert. 

Her Sister. See Fitch, Clyde. 

The Freedom of Suzanne, Comedy, 3 Acts, Empire, April 19, 

1905, 8m. 6f. 26 times. 

The Prince Consort. See Boosey, William. 

The Van Dyke, Play, 1 Act, Berkeley Lyceum, Nov. 5, 1907, m. 
f. 41 times. 



THE INFLUENCE OF THE DRAMA 161 

LAVEDAN, HENRI, (French Playwright.) 

The Duel. See Parker, Louis N. 

Sire. See Parker, Louis N. 
LOCKE, EDWARD, 

The Climax, Play, 3 Acts, Weber's, 1909, 3m. If. times. 

The Case of Becky, Play, 3 Acts, Belasco, Oct. 1, 1912, 5m. If. 
LOCKE, W. J., 

The Morals of Marcus, Comedy, 4 Acts, Criterion, Nov. 18, 1907, 

5m. llf. 44 times. 

Septimus. See Littell, Philip. 
LOYSON, PAUL HYACINTHE, 

The War of Souls, Play, 4 Acts, Empire, March 12, 1909, m. f. 

American Academy of Dramatic Arts, Matinee. 
LENGYEL. MELCHIOR, 

Taifun (The Typhoon), Drama, 4 Acts, Irving Place (In Ger- 
man), Dec. 4, 1911, 17m. 3f. times. 
LANDMAN, ISAAC, 

A Man of Honor, Play, 3 Acts, Weber's, Sept. 14, 1911, 6m. 

2f. times. 

LIPMAN, CLARA, 

Julie Bonbon, Play, 4 Acts, Lew Field's Theatre, Dec. 25, 1905, 

12m. 14f. 116 times. 

Elevating a Husband, Col. Samuel Shipman, Domestic Comedy- 
Drama, 4 Acts, Liberty, Jan. 22, 1912, 8m. 7f. times. 
LANCASTER, A. E., 

Anna Karenina, Drama, 5 Acts (from Tolstoi's Novel), Fifth 

Avenue, March 27, 1905, 8m. 7f. 12 times. 
LACKAYE, WILTON, 

The Law and the Man, Drama (from Victor Hugo's Les Misera- 

bles), Manhattan, Dec. 20, 1906, 14m. 6f. 54 times. 
LORD, FRANK, 

His Name On the Door, Play, 3 Acts, Bijou, Nov. 22, 1909, 10m. 

4f. times. 

LOTI, PIERRE, and GAUTIER, JUDITH, 

The Daughter of Heaven, Dramatic Spectacle, 3 Parts, 8 Scenes 

(English adaptation by Geo. Egerton), Century, Oct. 12, 1912, 

30m. 9f. 
LESSING, 

Nathan the Wise, Drama (In English), Campus, New York 

University, July 26, 1912. 

M. 
MIRAND, YUES, and CAEN, HENRI, (French Playwrights.) 

Ma Gosse, Realistic Play, 1 Act, American Music Hall, Jan 10, 
1910, m. f. times. 

MC GUIRE, WILLIAM ANTHONY, 

The Heights, Play, 3 Acts, Savoy, Jan. 31, 1910, 4m. 3f. times. 
MAYNARD, CORA, 



162 THE INFLUENCE OF THE DRAMA 



The Measure of a Man, Drama, 4 Acts, Weber's, Oct. 20, 1906, 
m. f. 15 times. 

The Watcher, Drama, 4 Acts, Comedy, Jan. 27, 1910, 2m. 4f. 
times. 

The Bargain. See Booth, Hillard. 
MAUGHAM, W. SOMERSET, 

Jack Straw, Comedy, 3 Acts, Empire, Sept. 14, 1908, 7m. 5f. 
times. 

Lady Frederick, Comedy, 3 Acts, Hudson, Nov. 9, 1908, 8m. 

5f. times. 

The Noble Spaniard, Comedy, 3 Acts (Suggested by the 

French), Criterion, Sept. 20, 1909, 4m. 5f. times. 

Penelope, Comedy, 3 Acts, Lyceum, Dec. 13, 1909, 6m. 4f. times. 

Mrs. Dot, Comedy, 3 Acts, -Lyceum, Jan. 24, 1910, 7m. 5f. 
times. 

Smith, Comedy, 4 Acts, Empire, Sept. 5, 1910, 4m. 4f. times. 

The Explorer, Drama, 4 Acts, Daly's, May 7, 1912, 9m. 3f. 
MANNERS, J. HARTLEY, 

Zira, Col. Henry Miller, Drama, 3 Acts, Princess, Sept. 21, 1905, 

12m. 4f. 152 times. 

A Marriage of Reason, Comedy, 4 Acts, Wallack's, April 1, 

1907, 7m. 5f. 14 times. 

The Patriot, Col. William Collier, Farce, 3 Acts, Garrick, Nov. 

23, 1908, 13m. 6f. times. 

The House Next Door, Comedy, 3 Acts, Gaiety, April 12, 1909, 

7m. 4f. times. 

The Great John Ganton, Dramatization, 4 Acts, (From Story by 

Arthur J. Eddy), Lyric, May 3, 1909, 12m. 7f. times. 

(See also under Musical Plays.) 

The Woman Intervenes, Play, 1 Act, Union Square, Oct. 28, 

1912, 3m. If. 12 times. 

Peg O' My Heart. 
MILLER, HENRY, 

Zira. See Manners, J. Hartley. 
MOODY, WILLIAM VAUGHN, 

The Great Divide, Play, 3 Acts, Princess, Oct. 3, 1906, 10m. 3f. 

353 times. 

The Faith Healer, Play, 3 Acts, Savoy, Jan. 19, 1910, 6m. 5f. 
times. 
MOROSCO, OLIVER, 

The Judge and the Jury. See Cottrell, Harry D. 
MORTON, MARTHA, 

The Truth Tellers, Comedy, 4 Acts, Grand Opera House, Oct 

17, 1905, 3m. 6f. 8 times. 

The Senator Keeps House, Comedy, 4 Acts, Garrick, Nov. 27, 

1911, 6m. 5f. times. 



THE INFLUENCE OF THE DRAMA 163 

The Movers, Drama, 4 Acts, Hackett, Sept. 3, 1907, 9m. 6f. 23 

times. 

On the Eve, Drama, 4 Acts (From German of Leopold Kaupf), 

Hudson, Oct. 4, 1909, 12m. 7f. times. 

A Fool of Fortune, Comedy, 3 Acts (Revived), Garrick, Jan. 

12, 1912, 7m. 3f. Matinee. 
MEGRUE, ROI COOPER, 

White Magic, Comedy, 3 Acts (From Novel by David Graham 

Phillips), Criterion, Jan. 24, 1912, 5m. 5f. times. 

To-Kill-A-Man, 1 Act (From Jack London's Story), Hammer- 
stein's, May 27, 1912, 2m. If. 
MC CARTHY, JUSTIN HUNTLY, 

If I Were King (Revived), Lyric, March 2, 1908, 15 times. 

The Proud Prince. 

(These antedate this list, but to keep Mr. Mc Carthy's name in 

the list I include them.) 
MICHAELIS, SOPHUS, 

A Son of the People, Drama, 3 Acts, New Theatre, Feb. 28, 

1910, 9m. 2f. times. 

MORTON, MICHAEL, 

The Little Stranger, Farce, 3 Acts, Hackett's, Aug. 27, 1906, 

7m. 5f. 25 times. 

The Richest Girl. See Gavault, Paul. 

My Wife. See Gavault, Paul. 

The Imposter. See Merrick, Leonard. 

Detective Sparkes, Comedy, 4 Acts, Garrick, Aug. 23, 1909, 

17m. 5f. times. 

The Runaway, Comedy, 4 Acts (Adapted from Pierre Veber & 

Henri De Gorsse), Lyceum, Oct. 9, 1911, 7m. lOf. times. 

(See Composers.) 
MONTGOMERY, JAMES, 

The Aviator, Comedy, 4 Acts, Astor, Dec. 6, 1910, 12m. 6f. 

Bachelors and Benedicts, Col. Jackson D. Hoag, Comedy, 3 

Acts, Criterion, Nov. 2, 1912, 7m. 5f. 

Take My Advice. See Collier, William. 

Ready Money, Comedy, 3 Acts, Maxine Elliott's, Aug. 19, 1912, 

15m. 4f. 
MARLOWE, CHRISTOPHER, 

Doctor Faustus, Play, Garden, March 18, 1910, 29m. times. 

(Rendered by Ben Greet's Company.) 
MANN, LOUIS, 

The Cheater, Farcical Play, 3 Acts (Adapted from German of 

Wilhelm Jacoby and Arthur Lipschitz), Lyric, June 29, 1910, 

9m. 4f. times. 
MAC KAYE (or MACKAYE), PERCY, 

Jeanne D'Arc, Poetic Drama, Blank Verse, 5 Acts, Lyric, Jan. 

29, 1907, 21m. 3f. 17 times. 



164 THE INFLUENCE OF THE DRAMA 

Joan of Arc (Second Production of same Play), Harvard Stad- 
ium, Cambridge, Mass. (With Miss Maude Adams), June 22, 

1909, 18m. 6f. times. 

Sappho and Phaon, Poetic Tragedy, 3 Acts, Lyric, Oct. 21, 1907, 

4m. 5f. 7 times. 

Mater, Play, 3 Acts, Savoy, Sept. 25, 1908, 3m. 2f. times. 

The Scare-Crow, Play, 4 Acts, Garrick, Jan. 17, 1911, 10m. 6f. 
times. 

Anti-Matrimony, Play, 4 Acts, Garrick, Sept. 22, 1910, 2m. 3f. 
times. 
MAETERLINCK, MAURICE, 

Monna Vanna, Play, 3 Acts, Manhattan, Oct. 23, 1905, 7m. If. 

50 times. 

Mary Magdalene, Play, 3 Acts, New Theatre, Dec. 5, 1910, 7m. 
2f. times. 

The Bluebird, Play, 2 Acts, New Theatre, Oct. 1, 1910, 7m. 14f. 

(Transferred later to Majestic Theatre.) times. 

MERRICK, LEONARD, 

The Impostor, Col. Michael Morton, Play, 3 Acts, Garrick, 

Dec. 20, 1910, 6m. 6f. times. 

MC LELLAN, C. M. S., 

Leah Kleschna, Play, 5 Acts, Manhattan, Dec. 12, 1904, 7m. 6f. 

131 times. 

Judith Zaraine, Drama, 4 Acts, Astor, Jan. 16, 1911, 8m. If. 
times. (See also under Musical Plays.) 
MIZNER, WILSON, 

The Only Law, Col. George Bronson Howard, play, 3 Acts, 

Hackett, Aug. 2, 1909, 5m. 2f. times. 

The Deep Purple. See Armstrong, Paul. 

The Greyhound. See Armstrong, Paul. 
MONTAGUE, JOHN, 

The Narrow Path, Play, 3 Acts, Hackett, May 31, 1909, 3m. 5f. 
times. 
MAYO, MARGARET, 

The Marriage of William Ashe, Play, 5 Acts (Dram, from 

Novel), Garrick, Nov. 21, 1905, 8m. 6f. 40 times. 

The Jungle, Col. Upton Sinclair, Melodrama, 4 Acts, Fifth 

Avenue, April 22, 1907, 12m. 8f. 12 times. 

Polly of the Circus, Play, 3 Acts and 2 Tableaux, Liberty, Dec. 

23, 1907, 9m. 6f. 160 times. 

The Debtors, Comedy, 3 Acts (German of Fritz Von Schoen- 

than), Bijou, Oct. 12, 1909, 15m. 3f. times. 

Baby Mine, Comedy, 3 Acts, Daly's, Aug. 23, 1910, 5m. 4f. times. 

Divorcons, Comedy (Trans, from Victorien Sardou), Lyceum, 

Aug. 16, 1907, m. f. 83 times. See Composers. 
MARIANI, FREDERICO, 

The Game of Love, Comedy, 4 Acts, Wallack's, May 24, 1909, 



THE INFLUENCE OF THE DRAMA 165 



7m. 3f. times. 

MASON, A. E. W., 

The Witness for the Defense, Play, 4 Acts, Empire, Dec. 4, 

1911, 8m. 2f. times. 

Green Stockings, Comedy, Acts, Thirty-Ninth Street, Oct. 2, 

1911, 7m. 5f. times. 

MAPES, VICTOR, 

Capt. Barrington, Play, Acts, Manhattan, m. f. 

MARSHALL, ROBERT, 

The Duke of Killicrankie, Comedy, 3 Acts, Empire, Sept. 5, 

1904, 2m. 2f. 128 times. 
MARSHALL, ABIGAIL, 

Dad and Mother, 1 Act, Comedy, Proctor's, July 1, 1912, lm. 2f. 
MARLOW, CHARLES, 

When Knights Were Bold, Farce, 3 Acts, Garrick, Aug. 20, 

1907, 7m. 7f. 108 times. 
MC CARDELL, ROY L., 

The Gay Life, Play, 3 Acts, Daly's, April 19, 1909, 22m. 9f. 
times. 
MAC HUGH, AUGUSTIN, 

Officer 666, Melodramatic Farce, 3 Acts, Gaiety, Jan. 29, 1912, 

8m. 3f. times. 

MAC LAREN, DONALD, 

The Redskin, Play, 4 Acts, Liberty, March 1, 1906, 8m. 7f. 26 

times. 
MAC ARTHUR, JAMES, 

The Spoilers, Piece, 4 Acts (Dram, from Novel of Rex Beach), 

New York Theatre, March 11, 1907, 12m. 4f. 16 times. 

The Christian Pilgrim, Morality (Bunyan's Pilgrim's Progress), 

Liberty, Nov. 11, 1907, 6m. 4f. 
MC KEAN, THOMAS, 

The Wife Decides, Comedy-Drama, 3 Acts, Weber's, Nov. 14, 

1911, 5m. 8f. times. 

MEILHAC, HENRI, and HALEVY, LUDOVIC, 

Frou-Frou, Drama, 5 Acts (Adapted by Harrison Grey Fiske), 

Hudson, March 18, 1912, 7m. 6f. times. 

MERESCHKOVSKY, DMITRI, 

Czar Paul 1, Historical Drama, 5 Acts, Garrick (Played in 

Russian), March 18, 1912, 11m. 3f. times. 
MORRIS, I. N., 

The Usurper, Comedy-Drama, 4 Acts, Knickerbocker, Nov. 28, 

1904, 6m. 5f. 28 times. 
MOLNAR, FRANZ, 

The Devil, Drama, 3 Acts, Belasco, Aug. 18, 1908, 5m. 3f. 

times. 

The Devil, Drama, 3 Acts, Garden, Aug. 18, 1908, 4m. 3f, 

times. 



166 THE INFLUENCE OF THE DRAMA 



(There was a rivalry in presentation of this Play, the former 
by David Belasco, the latter by Henry W. Savage. Each pro- 
duction was equally good. The translations were by differ- 
ent persons.) 

MOFFAT, GRAHAM, 
Bunty Pulls the Strings, Scotch Comedy, 3 Acts, Comedy, 
Oct. 10, 1911, 5m. 5f. times. 

The Concealed Bed, 1 Act Playlet produced 1912 on Orpheum 
Circuit and Union Square, Oct. 21, 1912, 2m. 3f. 
A Scrape o' the Pen, Comedy, 3 Acts, Weber's, Sept. 26, 1912, 
7m. llf. 

MOFFET, CLEVELAND, 
The Battle, Play, 4 Acts, Savoy, Dec. 21, 1908, 6m. 4f. 
times. 

MITCHELL, LANGDON, 

The New York Idea, Comedy, 4 Acts, Lyric, Nov. 19, 1906, 
6m. 5f. 66 times. 

Becky Sharp (Vanity Fair), (from Thackeray's Novel), Ver- 
sion long used by Mrs. Fiske, Manhattan, Sept. 14, 1904, 70 
times. 

MIDDLETON, GEORGE, 
The House of a Thousand Candles, Melodrama, 4 Acts,, (Dram, 
from Meredith Nicholson's Novel), Daly's, Jan. 6, 1908, 8m. 31 
14 times. 

Barriers Burned Away, Romantic Drama, 4 Acts, (From Novel 
of E. P. Roe), Prospect, Feb. 26, 1912, 4m. 5f. times. 

By Right of Sword, Romantic Drama, 5 Acts, (Formerly used 
by Ralph Stuart.) 

MC INTYRE, JOHN T., 

Steve, Play, 3 Acts, Harris, Sept. 28, 1912, 5m. 2f. 

MULLER, HUGO, 
Adelaide, 1 Act (adapted from David Bispham's Story), New 
Amsterdam, May 17, 1912, (by Musician's Club), 2m. 4f. 

N. 
NIES, CONRAD, 

Rosen Im Schnee (Roses in the Snow), Allegorical Play, 4 

Acts, Irving Place (in German), Dec. 23, 1911, 5m. 14f. 

times. 
NIRDLINGER, CHARLES, 

The First Lady in the Land, Comedy, 4 Acts, Gaiety, Dec. 4, 

1911, 13m. 8f. times. 

NIRDLINGER, FREDERICK, 

The World and His Wife, Drama, 3 Acts, Daly's, Nov. 2, 1908, 

6m. 2f. times. 

NICCODEMI, M. DARIO, 

L'Hirondelle, (In French, Mme, Rejane) Lyric, 1904, 2 times. 



THE INFLUENCE OF THE DRAMA 167 

NORRIS, I. N., 

Matilda, Farce, 3 Acts, Lincoln Square, Dec. 31, 1906, 6m. 4f. 

17 times. 
NUGENT, J. C, 

The Regular, 1 Act, Union Square, July 22, 1912, lm. If. 
NOLL, JOSEPH, 

The Marriage — Not, Comedy, 3 Acts, Maxine Elliott's, May 

13, 1912, 5m. 5f. 



ONGLEY, BYRON, 
Brewster's Millions. See Smith, Winchell. 
The Rector's Garden, Comedy, 4 Acts, Bijou, March 3, 1908, 
8m. 7f. 7 times. 

The Typhoon, Col. Emil Nyitray, Drama, 3 Acts (From Hun- 
garian of M. Lengyel, Taifun, played at Irving Place, 
Dec. 4, 1911), Fulton, March 11, 1912, 17m. 2f. times. 

The Moment, 1 Act, Playhouse, April 26, 1912, 4m. If. 1 time. 

ORCZY, BARONESS, 
The Scarlet Pimpernel, Col. Montague Bastow; Comedy, 4 
Acts, Knickerbocker, Oct. 24, 1910, 21m. 6f. times. 

O'DEA, JAMES, 
Uncle Sam. See Caldwell, Anne. 

OWEN, CECIL, and BELL, CHARLES, 
Hell Hath No Fury, Play, 3 Acts, Prospect, July 1, 1912, 4m. 
3f. 



PRESBREY, EUGENE W., 

Susan in Search of a Husband, Play, Acts, (From Story by 
Jerome K. Jerome), Liberty, Nov. 20, 1906, 4m. 4f. 14 times. 
The Right of Way, Play, 5 Acts, (From Sir Gilbert Parker's 
Novel), Wallack's, Nov. 4, 1907, 19m. 4f. 42 times. 
The Barrier, Drama, 4 Acts, (From Rex Beach's Novel), New 
Amsterdam, Jan. 10, 1910, 9m. 2f. times. 

PLEYDELL, GEORGE, 
Diplomacy, Drama, 4 Acts, (Trans, from Sardou), Maxine 
Elliott's, Sept. 13, 1910, (Revival), 8m. 5f. times. 

PAGE, CURTIS HIDDEN, 
The Learned Ladies, (Moliere's Les Savantes Femmes), Com- 
edy, 5 Acts, Lyric, Nov. 10, 1911, 7m. 5f. times. 

PORTER, OLIVE, 
The Ringmaster, Play, 4 Acts, Maxine Elliott's, Aug. 9, 1909, 
13m. 5f. times. 

PARKER, LOUIS N., 

The House of Burnside, Play, 3 Acts, (From French), Prin- 
cess, Dec. 26, 1904, 6m. 4f. 15 times. 



168 THE INFLUENCE OF THE DRAMA 



The Brighter Side, Comedy, 4 Acts, (From French of Alfred 

Capus), Knickerbocker, Feb. 6, 1906, 6m. 4f. 7 times. 

The Beauty and the Barge. See Jacobs, W. W. 

The Duel, Play, 3 Acts, (Trans, from Henri Lavedan), Hud- 
son, Feb 12, 1906, 6m. 4f. 73 times. 

Pomander Walk, Comedy, 3 Acts, Wallack's, Dec. 20, 1910, 7m. 

8f. times. 

Sire, Comedy, 4 Acts, (Trans, from Henri Lavedan), Criterion, 

Jan. 24, 1911, 10m. 4f. times. 

Disraeli, Play, 4 Acts, Wallack's, Sept. 18, 1911, 14m. 6f. 

times. 

The Lady of Coventry, Romance, 4 Acts, Daly's, Nov. 21, 1911, 

11m. 7f. times. 

Chantecler. See Rostand, Edmond. 

The Lady of Dreams. See Rostand, Edmond. 

L'Aiglon. See Rostand, Edmond. 
PATTERSON, JOSEPH MEDILL, 

The Fourth Estate, Col. Harriet Ford; Play, 4 Acts, W r allack's 

Oct. 6, 1909, 17m. 3f. times. 

Rebellion, Play, 4 Acts, Maxine Elliott's, Oct. 3, 1911, 8m. 2f. 
times. 

A Little Brother of the Rich, Satirical Comedy, 4 Acts, Wal- 
lack's, Dec. 27, 1909, 18m. 6f. times. 
PEPLE, EDWARD, 

The Prince Chap, Comedy, 3 Acts, Madison Square, Sept. 4, 

1905, 6m. 6f. 114 times. 

The Silver Girl, Comedy, 4 Acts, Wallack's, Oct. 14, 1907, 7m. 

3f. 24 times. 

The Littlest Rebel, Drama, 4 Acts, Liberty, Nov. 14, 1911, 16m. 

3f. times. 

The Call of the Cricket, Play, 3 Acts, Belasco, April 10, 1910, 

4m. 4f. times. 

The Spitfire, Melodramatic-Comedy, Acts, Lyceum, April 25, 

1910, 7m. 3f. times. 

The Girl, Comedy, 1 Act, Union Square, Oct. 14, 1912, 3m. 

(See Composers.) 
PARRY, EDWARD, 

What the Butler Saw, Farce, Acts, Col. Frederick Monalbot, 

Garrick, April 16, 1906, 9m. 7f. 16 times. 
PASTON, GEORGE, 

Nobody's Daughter, Drama, 4 Acts, New Theatre, Feb. 13, 

1911, 5m. 6f. times. 
PEABODY, JOSEPHINE PRESTON, 

The Piper, Play, 4 Acts, New Theatre, Jan. 30, 1911, 14m. lOf. 
times. 



THE INFLUENCE OP THE DRAMA 169 



PINERO, ARTHUR WING, (SIR), 

Letty, Comedy, 4 Acts, Hudson, Sept. 12, 1904, 11m. 5f. 64 
times. 

A Wife Without a Smile, Farce, Acts, Criterion, Dec. 19, 

1904, 5m. 4f. 15 times. 

His House in Order, Comedy, 4 Acts, Empire, Sept. 3, 1906, 10m. 

5f. 127 times. 

Trelawny of the Wells, Comedietta, 4 Acts, (Revived) Empire, 

Jan. 1, 1911, 10m. 8f. times. 

The Thunderbolt, Drama, 4 Acts, Lyric, Nov. 22, 1911, 10m. 

lOf. times. 

The Thunderbolt, (Was played at) New Theatre, Nov. 12, 

1910, 10m. 6f. times. 

Mid-Channel, Play, 4 Acts, Empire, Jan. 31, 1910, 8m. 5f. 

times. 

Preserving Mr. Panmure, Comedy, 4 Acts, Lyceum, Feb. 

25, 1912, 8m. 6f. times. 

(The following Plays are given for record merely, and have 

been presented before this period.) 

The Times, Comedy, 4 Acts, 16m. 7f. 

The Profligate, Play, 4 Acts, 7m. 5f. 

The Hobby Horse, Comedy, 3 Acts, 10m. 5f. 

Lady Bountiful, Play, 4 Acts, 8m. 7f. 

The Cabinet Minister, Farce, 4 Acts, 10m. 9f. 

Dandy Dick, Play, 3 Acts, 7m. 4f. 

The Notorious Mrs. Ebbsmith, Drama, 4 Acts, 8m. 5f. 

The Second Mrs. Tanqueray, Play, 4 Acts, 7m. 5f. 

The Gay Lord Quex, Comedy, 5 Acts, 4m. lOf. 

Iris, Drama, 5 Acts, 7m. 7f. 

Sweet Lavender, Comedy, 3 Acts, 7m. 4f. 

The Amazons. 

The School-Mistress. 

The Weaker Sex. 

The Magistrate. 

The Mind-the-Paint Girl, Comedy, 4 Acts, Lyceum, Sept. 9, 

1912, 18m. 14f. 
POLLOCK, CHANNING, 

The Little Gray Lady, Play, Acts, Garrick, Jan. 22, 1906, 

6m. 5f. 32 times. 

Clothes. See Hopwood, Avery. 

In the Bishop's Carriage, Play, 4 Acts, (Dram, from Novel 

of Miriam Michelson), Springfield, Mass., 1906, Grand Opera 

House, N. Y. City, Feb. 25, 1907, 11m. 7f. 8 times. 

Such a Little Queen, Comedy, 4 Acts, Hackett, Aug. 31, 1909, 

11m. 6f. times. 

The Secret Orchard, Play, Acts, (From Novel of Agnes and 

Egerton Castle), Lyric, Dec. 16, 1907, 7m. 5f. 32 times. 



170 THE INFLUENCE OF THE DRAMA 



PAULDING, FREDERICK, 

The Great Question, Play, 4 Acts, Majestic, Oct. 26, 1908, 9m. 

6f. times. 

Cousin Louisa, Farcical Comedy, 3 Acts, Daly's, April 30, 1906, 

5m. 4f. 8 times. 
PAULTON, HARRY and EDWARD, 

The Other House, Fantastical Comedy, 3 Acts, Majestic, Aug. 

30, 1907, 7m. 5f. 20 times. 

(See Musical Plays.) 
POTTER, PAUL, 

Nancy Stair, Drama, 5 Acts, (From Novel of Elinor Macart- 
ney Lane), Criterion, March 15, 1905, 13m. It. 20 times. 

Barbara's Millions, Comedy, 4 Acts, (French source), Savoy, 

Oct. 8, 1906, 5m. 5f. 14 times. 

The Honor of the Family, Play, 4 Acts, (From Play by Emil 

Fabre), Hudson, Feb. 17, 1908, 11m. 3f. 104 times. 

The Zebra, Farce, 3 Acts, (From French of Nancey and Ar- 

mont), Garrick, Feb. 13, 1911, 9m. 4f. times. 

PHILLIPS, DAVID GRAHAM, 

The Worth of a Woman, Play, 4 Acts, Madison Square, Feb. 

12, 1908, 5m. 3f. 21 times. 
PHILLIPS, STEPHEN, 

Paola and Francesca, Tragedy, 4 Acts, New Amsterdam, Oct. 

1, 1906, 13m. 9f. 17 times. 

Herod, Play, 3 Acts, Lyric, Oct. 26, 1909, 10m. 7f. times. 

Ulysses, Tragedy, 4 Acts, Garden Theatre, September, 1903, 

25m. 19f. 1 time. 
POOLE, ERNEST, 

None So Blind, Play, 4 Acts, Hackett, Feb. 3, 1910, 4m. 2f. 

times. 

R. 
ROBSON, MAY, 

The Three Lights, Col. Charles T. Dazey; Comedy, 3 Acts, 

Bijou, Oct. 31, 1911, m. f. times. 

ROBERTS, RHINEHART, 

The Double Life, Drama, Acts, Bijou, Dec. 24, 1906, 9m. 3f. 

12 times. 
RINEHART, MARY ROBERTS, 

Seven Days, Col. Avery Hopwood; Farce, 3 Acts, (From Novel 

When a Man Marries, by Mrs. Rinehart, Astor, Nov. 10, 

1909, 6m. 4f. times. 

Cheer Up. 
RHODES, HARRISON, 

A Gentleman from Missisippi, Col. Thomas A. Wise; Play, 4 

Acts, Bijou, Sept. 29, 1908, 11m. 5f. times. 

An Old New Yorker, Col. Thomas A. Wise; Play, 4 Acts, Daly's, 

April 3, 1911, 10m. 7f. times. 



THE INFLUENCE OF THE DRAMA 171 



Modern Marriage, Comedy, 3 Acts, Bijou, Sept. 16, 1911, 6m. 7f. 
times. 
ROSENFELD, SYDNEY, 

The Optimist, Comedy, 4 Acts, Daly's, April 23, 1906, 8m. 9f. 

8 times. 

The Aero Club, Comedy, 3 Acts, Criterion, Jan. 28, 1907, 11m. 

6f. 22 times. 

Children of Destiny, Play, 4 Acts, Savoy, Feb. 21, 1910, 6m. 

6f. times. 

(See also Authors of Musical Plays.) 
RALEIGH, CECIL, 

The Sins of Society, Col. Henry Hamilton; Drama, 4 Acts, 

New York, Aug. 3, 1909, 11m. lOf. times. 

(This gentleman has for years been a co-author of nearly all 

the sensational melodramas for which the Drury Lane, Lon- 
don, has become famous.) 
ROYLE, EDWIN MILTON, 

The Squaw Man, Comedy Drama, 4 Acts, Wallack's, Oct. 23, 

1905, 19m. 7f. 222 times. 

The Struggle Everlasting, Modern Morality, Prologue and 

3 Acts, Hackett, Sept. 26, 1907, 13m. 4f. 20 times. 
ROBERTSON, T. W., 

Caste, Comedy, 3 Acts, (Revived) Empire, April 25, 1910, 5m. 

3f. times. 

David Garrick, Comedy, 4 Acts, (Revived) Lyceum, Nov. 14, 

1908, 9m. 4f. times. 

RAPHAEL, JOHN, 

Madame X, Drama, Prologue and 3 Acts; (Trans, from Alex- 
ander Bisson), New Amsterdam, Feb. 2, 1910, 14m. 4f. 

times. 
ROSE, EDWARD E., 

The Way to Kenmare, Play, Fourteenth Street, Nov. 7, 1904, 

6m. 3f. 49 times. 

The Rosary, Play, 4 Acts, Garden, Oct. 24, 1910, 5m. 5f. 

times. 
RANKIN, ST. JOHN, 

The Two Mr. Wetherbys, Play, 3 Acts, Madison Square, Aug. 

23, 1906, 3m. 4f. 21 times. 
RAMSER, ALICIA, 

John Hudson's Wife, Col. Rudolph de Cordova; Play, Acts, 

Weber's, Oct. 11, 1906, 9m. 5f. 27 times. 
RACEWARD, THOMAS, 

Sunday, Drama, Acts, Hudson, Nov. 15, 1904, 8m. 3f. 79 

times. 
RAILEY, THOMAS T., 

Baxter's Partner, Comedy, 3 Acts, Bijou, June 27, 1911, 7m. 3f. 
times. 



172 THE INFLUENCE OF THE DRAMA 



RAIMUND, FERDINAND, 

Der Verschwender, (The Spendthrift), Allegorical Play, 4 

Acts, 8 Scenes; Irving Place, (Revived in German), Jan. 5, 

1912, 15m. 6f. times. 

REID, JAMES HALLECK, 

The Confession, Play, 3 Acts, Bijou, March 13, 1911, 12m. 2f. 
times. 
REDMOND, JOHANNA (Irish Playwright) 

Falsely True, Drama, 1 Act, Maxine Elliott's, Dec. 20, 1911, 

2m. If. times. 

RECHT, CHARLES, 

The Clouds, Drama, 3 Acts, (Trans, from Jaroslov Kvapil), 

Bijou, May 15, 1911, 3m. 2f. times. 

RICHMAN, CHARLES, 

The Revellers, Comedy, 4 Acts, Maxine Elliott's, Sept. 7, 

1909, 11m. lOf. times. 

ROBINS, ELIZABETH, 

Votes for Women, Play, 3 Acts, Wallack's, March 15, 1909, 

4m. 4f. Suffragette Matinee. 
ROBINSON, LENNOX, 

Satirical Play, 3 Acts, Maxine Elliott's, 

Dec. 18, 19 , 4m. 4f. times. 

ROLLETT, GEORGE, 

The Money Makers, Comedy, 3 Acts, Liberty, Jan. 16, 1905, 

8m. 4f. 14 times. 
ROOT, IVY ASHTON, 

The Greater Love, Play, 4 Acts, Madison Square, March 19, 

1906, 12m. 5f. 31 times. 

Live Wires, 1 Act, Fifth Avenue, May 1, 1912, 4m. If. 
ROSTAND, EDMOND, 

Chantecler, Play, 4 Acts, (Adapted by Louis N. Parker), 

Knickerbocker, Jan. 23, 1911, 20m. lOf. times. 

The Lady of Dreams (La Princess Lointaine), Romance, 4 

Acts, (Adapted by Louis N. Parker), Hudson, Feb. 28, 1912, 

21m. 3f. times. 

ROESSLER, KARL, 

Die Fiinf Frankforter, (The Five Franfurters), Comedy, 3 

Acts, Irving Place, "October, 1912. 
ROBERTS, THEODORE, 

The Sheriff of Shasta, 1 Act Play, Fifth Avenue, Sept. 23, 

1912, 3m. 2f. 



STANTON, FRANK, 
The Inferior Sex, Comedy, 3 Acts, Daly's, Jan. 24, 1910, 3m. If. 
times. 



THE INFLUENCE OF THE DRAMA 173 



SCHONHERR, CARL, 
Glaube and Heimath (Faith and Country), Tragedy, 3 Acts, 
Irving Place, (In German), Feb. 7, 1912, 14m. 3f. times. 

SMITH, WINCHELL, 
Brewster's Millions, Col. Byron Ongley, Play, 4 Acts, (Dram. 
Novel of George Barr McCutcheon), New Amsterdam, Dec. 
31, 1906, 11m. 4f. 179 times. 
Via Wireless. See Armstrong, Paul. 

The Fortune Hunter, Comedy, 4 Acts, Gaiety, Sept. 4, 1909, 
17m. 3f. times. 

The Only Son, Play, 3 Acts, Gaiety, Oct. 16, 1911, m. f. 

times. 
Love Among the Lions, Farcical Romance, 4 Acts, (Founded on 
Novel by F. Anstey), Garrick, Aug. 8, 1910, 9m. 4f. times. 
Bobby Burnitt, Comedy, 4 Acts, (From Novel of George Ran- 
dolph Chester), Republic, Aug. 22, 1910, 16m. 3f. times. 

SAYRE, THEODORE BURT, 
Edmund Burke, Romantic Drama, 4 Acts, Majestic, Oct. 2, 

1905, 8m. 51 28 times. 

Eileen Asthore, Romantic Drama, 4 Acts, New York, Oct. 22, 

1906, m. f. 24 times. 

The Commanding Officer, Melodrama, 4 Acts, Savoy, Dec. 27, 

1909, 8m. 5f. times. 

O'Neill of Derry, Romantic Drama, 4 Acts, Liberty, Nov. 25, 

1907, m. f. 33 times. 
SUTRO, ALFRED, 

The Walls of Jericho, Comedy, 4 Acts, Savoy, Sept. 25, 1905, 

9m. 8f. 157 times. 

The Facinating Mr. Vanderveldt, Comedy, Acts, Daly's, Jan. 

22, 1906, 6m. 6f. 44 times. 

The Price of Money, Play, 4 Acts, Garrick, Aug. 29, 1906, 6m. 

7f. 42 times. 

John Glayde's Honor, Play, 4 Acts, Daly's, Dec. 23, 1907, 7m. 

5f. 16 times. 

The Builder of Bridges, Play, 4 Acts, Hudson, Oct. 26, 1909, 

5m. 4f. times. 

The Perplexed Husband, Comedy, 4 Acts, Empire, Sept. 2, 

1912, 3m. 4f. 
STEWART, GRANT, 

Caught in the Rain. See Collier, William. 

The Inspector from Kansas, Comedy, 1 Act, Fifth Ave., July 

15, 1912, 2m. If. 

The Come On, 1 Act, 5th Ave., June 3, 1912, 3m. If. 
SHIKO, W. (Japanese), 

A Japanese Lady, Japanese Playlet, 1 Act (In Japanese), 

Berkeley Lyceum, Nov. 5, 1907, 23 times. 



174 THE INFLUENCE OF THE DBAMA 

SHAW, GEORGE BERNARD, 

How He Lied to Her Husband, Comediette, 1 Act, Berkeley 

Lyceum, Sept. 26, 1904, 2m. If. 8 times. 

You Never Can Tell, Comedy, Acts, Garrick, Jan. 9, 1905, 

6m. 3f. 129 times. 

Man and Superman, Comedy, 3 Acts, Hudson, Sept. 5, 1905, 6m. 

5f. 192 times. 

John Bull's Other Island, Play, 4 Acts, Garrick, Oct. 10, 1905, 

10m. 2f. 13 times. 

Cashel Byron's Profession, Comedy, 3 Acts, (Adaptation made 

by Stanislaus Stange), Daly's, Jan. 8, 1906, 8m. 6f. 18 times. 

Caesar and Cleopatra, History, 4 Acts, New Amsterdam, Oct. 

30, 1906, 12m. 4f. 49 times. 

Captain Brassbound's Conversion, Play, 3 Acts, Empire, Jan. 

28, 1907, 13m. If. 14 times. 

Widowers' Houses, Comedy, 3 Acts, Herald Square, March 

7, 1907, 6m. 2f. 16 times. 

The Showing Up of Blanco Posnet, Melodrama, 1 Act, Maxine 

Elliott's, (Irish Players), Nov. 23, 1911, 7m. 6f. times. 

The Devil's Disciple, Melodrama, 3 Acts, Produced in London, 

1907. (Played in America in repertory of late Richard Mans- 
field.) 

Candida, Play, Berkeley Lyceum, Dec. 11, 1907, 30 times. 

Mrs. Warren's Profession, Grand Opera House, May 20, 1908, 

8 times. 

Fanny's First Play, 3 Acts, Comedy, Sept. 16, 1912, 12m. 5f. 
SUTHERLAND, EVELYN GREENLEAF, 

The Road to Yesterday. See Dix, Beulah M. 

The Lilac Room, Col. Beulah M. Dix, Comedy, Acts, Web- 
er's, April 3, 1907, 7m. 5f. 4 times. 

Monsieur Beaucaire. See Tarkington, Booth. 
STANGE, STANISLAUS, 

Divorce, Play, 3 Acts, Lyric, Nov. 29, 1909, 4m. 5f. times. 

(See Musical Plays.) 

The School for Husbands, Comedy, 4 Acts, Wallack'a, April 

3, 1905, 8m. 6f. 48 times. 
SHELDON, EDWARD, 

Salvation Nell, Play, 3 Acts, Hackett's, Nov. 17, 1908, 12m. 

9f. times. 

The Nigger, Play, 3 Acts, New Theatre, Dec. 4, 19D9, 9m. 3f. 
times. 

The Boss, Play, 4 Acts, Astor, Jan. 30, 1911, 13m. 4f. times. 

The High Road. 
SMITH, ALICE M., 

The Strength of the Weak, Col. Charlotte Thompson; Play, 

4 Acts, Liberty, April 17, 1906, 8m. 8f. 27 times. 



THE INFLUENCE OF THE DRAMA 175 



SMITH, GEORGE TOTTEN, 

The Other Fellows, Farce, 3 Acts, Bijou, Oct. 31, 1910, 6m. 

4f. times. 

STOKES, JOHN, 

Between Trains, Sketch, 1 Act, Fifth Ave., May 13, 1912, lm. 

2f. 
SMITH, HARRY JAMES, 

Mrs. Bumpstead-Leigh, Comedy, 3 Acts, Lyceum, April 3, 1811, 

6m. 6f. times. 

SELWYN, EDGAR, 

It's All Your Fault, Farce, 3 Acts, Savoy, April 2, 1905, 7m. 4f. 

31 times. 

Father and Son, Play, 4 Acts, Majestic, Sept. 24, 1908, 9m. 6f. 
times. 

Pierre of the Plains, Play, 4 Acts, (Dram, from Sir Gilbert 

Parker's Novel), Hudson, Oct. 12, 1908, 11m. 2f. times. 

I'll Be Hanged If I Do, Col. William Collier; Farce, 3 Acts, 

Comedy, Nov. 29, 1910, 18m. 7f. times. 

The Arab, Play, 4 Acts, Lyceum, Sept. 20, 1911, 18m. 5f. 

times. 

The Country Boy, Comedy, 4 Acts, Liberty, Aug. 30, 1910, 8m. 

8f. times. 

(See Composers.) 
SYNGE, JOHN WELLINGTON, (Irish Playwright) 

The Well of the Saints, Comedy, 3 Acts, Maxine Elliott's, 

Nov. 23, 1911, 6m. 4f. times. 

The Playboy of the Western World, Comedy, 3 Acts, Maxine 

Elliott's, Nov. 27, 1911, 6m. 5f. times. 

Rider's to the Sea, Tragedy, 1 Act, Maxine Elliott's, Dec. 4, 

1911, 4m. 5f. times. 

The Shadow of the Glen, Play, 1 Act, Maxine Elliott's, Dec. 

15, 1911, 3m. If. times. 

SUDERMANN, HERMANN, 

Fires of St. John, (Johannesfeuer), Drama, Daly's, Nov. 28, 

1904, 4m. 5f., (First time played in America) 8 times. 

(Revived at Daly's, 1908.) 

John the Baptist, Tragedy, 5 Acts, Lyric, Jan. 21, 1907, 13m. 

7f. 8 times. 

Das Blumenboot (The Flower Boat), Drama, Irving Place, 

(In German), April 22, 1907, 6 times. 
SCHNITZLER, ARTHUR, 

The Reckoning, Drama, 3 Acts, Berkeley Lyceum, Feb. 12, 

1907, 4m. 3f. 72 times. 
. The Legacy, Drama, 1 Act, (Trans, by Mary L. Stephenson), 

Empire, March 14, 1912, 6m. 8f. Matinee of American Academy 

of Dramatic Arts. 



176 THE INFLUENCE OF THE DRAMA 



The Affairs of Anatol, Sequence of Episodes, 5 Acts, Little 

Theatre, Oct. 14, 1912, 4m. f. 
SKINNER, CHARLES M., 

The Harvester, Drama, Acts, (Trans, from French of Jean 

Richepin), Lyric, Oct. 10, 1304, 8m. 3f. 32 times. 
SHELDON, H. S., 

The Havoc, Play, 3 Acts, Bijou, Jan. 9, 1911, 3m. If. times. 

SHIPMAN, SAMUEL, 

The Spell, Drama, 3 Acts, Majestic, Sept. 16, 1907, 8m. 3f. 24 

times. 

Elevating a Husband. See Lipman, Clara. 

A Man and His Wife, Play, 4 Acts, Grand Opera House, Jan. 

15, 1912, 9m. 4f. times. 

SIMPSON, J. PELGRAVE, 

Court Cards, Play, 2 Acts, Empire, Feb. 26, 1909, Matinee. 

A Scrap of Paper, (Trans, from Sardou). 
SHOENAU, MAX, 

Haben Sie Nichts Zu Verzollen? (Have You Nothing To De- 
clare?), (Trans, into German from Vous N'avez Rien a De- 
clarer? of Maurice Hennequin and Pierre Veber), Farce, 3 

Acts, Irving Place (In German), Jan. 11, 1912, 8m. 5f. 

times. 
SAMUELS, MAURICE V., 

The Conflict, Drama, 4 Acts, Garden, March 29, 1909, 5m. 4f. 
times. 
SELBY, CHARLES, 

The Marble Heart, Play, 5 Acts, Academy of Music, May 17, 

1909, 15m. llf. times. 

SOPHOCLES, 

Oedipus Rex, Drama, Irving Place, (German), Aug. 21, 1910. 

8m. 6f. times. 

STAPLETON, JOHN, 

A Gentleman of Leisure, Col. P. G. Wodehouse; Comedy, 4 

Acts, Playhouse, Aug. 24, 1911, 16m. 2f. times. 

STRONG, AUSTIN, 

The Toymaker of Nuremberg, Play, 3 Acts, Garrick, Nov. 25, 

1907, 17m. 8f. 24 times. 

The Little Father of the Wilderness, Col. Lloyd Osbourne; 

Comedy, 1 Act, Criterion, April 16, 1906, 6m. If. times. 

SIMS, GEORGE R., 

The Lights o' London, Drama, 4 Acts, (Revived) Lyric, May 

1, 1911, 25m. 7f. times. 

SNYDER, REV. JOHN M., 

As Ye Sow, Drama, 4 Acts, Garden, Dec. 25, 1905, 10m. lOf. 

34 times. 
SHAKESPEARE, WILLIAM, 

Romeo and Juliet, Tragedy, 5 Acts, Knickerbocker, Oct. 17, 



THE INFLUENCE OF THE DRAMA 177 



1904, 17m. 5f. times. 

Much Ado About Nothing, Comedy, 5 Acts, Knickerbocker, 

Nov. 1, 1904, 15m. 5f. times. 

Richard III, Tragedy, 6 Acts, Princess, Dec. 5, 1904, 12m. 5f. 

times. 
The Winter's Tale, Comedy, 5 Acts, Knickerbocker, Dec. 26, 
1904, 12m. 3f. times. 

A Midsummer Night's Dream, Fantasy, 5 Acts, Astor, Sept. 
21, 1906, 15m. llf. times. 

Oymbeline, Historical Play, 6 Acts, Astor, Oct. 22, 1906, 15m. 
4f. times. 

King Lear, Tragedy, 5 Acts, Academy of Music, 1906, 

15m. 3f. times. 

Merchant of Venice, Comedy, 5 Acts, Bijou, Feb. 17, 1908, 14m. 
3f. 8 times. 

Richard III, Tragedy, 6 Acts, Bijou, Feb. 24, 1908, 21m. 4f. 
8 times. 

King John, Tragedy, 7 Acts, New Amsterdam, March 8, 1909, 
16m. 7f. times. 

Hamlet, Tragedy, 5 Acts, Academy of Music, May, 1909. 
Romeo and Juliet, 5 Acts, Academy of Music, May, 1909. 
Merchant of Venice, 5 Acts, Academy of Music, May, 1909. 
Twelfth Night, 5 Acts, Academy of Music, May, 1909. 
Taming of the Shrew, 5 Acts, Academy of Music, May, 1909. 
Antony and Cleopatra, Tragedy, 5 Acts, New Theatre, Nov. 
8, 1909, 19m. 4f. times. 

Macbeth, Tragedy, 6 Acts, Broadway, Dec. 5, 1910, 23m. 5f. 

times. 
King Lear, Tragedy, 5 Acts, Daly's, April 17, 1911, 15m. 3f. 

times. 
Twelfth Night, Comedy, 5 Acts, New Theatre, Jan. 26, 1910, 
15m. 3f. times. 

The Winter's Tale, Play, 5 Acts, New Theatre, Mar. 28, 1910, 
17m. 8f. times. 

The Merry Wives of Windsor, Comedy, 5 Acts, New Theatre, 
Nov. 7, 1910, 17m. 4f. times. 

Henry V., Daly's, Sept. 30, 1912, 3m. 5f. (Lewis Waller's 
production with himself as star.) 

Hamlet, Tragedy (Revised by Ian MacLaren), Wallack's,. April 
23, 14m. 4f. 

Julius Caesar, Lyric, Nov. 4, 1912, 22m. 3f. (Booth Version.) 
SHIPMAN, LOUIS EVAN, 

The Crossing. See Churchill, Winston. 

On Parole, Play, 4 Acts, Majestic, Feb. 25, 1907, 8m. 4f. 32 

times. 

The Grain of Dust, Drama, 4 Acts, (From Novel of David 

Graham Phillips), Criterion, Jan. 1, 1912, 8m, 4f. times. 



178 THE INFLUENCE OF THE DRAMA 



SHEPARD, ELIZABETH LEE, 

The Red Carnation, Melodrama, 4 Acts, Yorkville, March 13, 

1905, 8m. 8f. 11 times. 
STEELL, WILLIS, 

The Firm of Cunningham, Comedy, 3 Acts, Madison Square, 

April 18, 1905, 5m. 4f. 31 times. 
SARDOU, VICTORIEN, 

Divorcons, Comedy, 3 Acts, Wallack's, April 15, 1907, 7m. 5f. 

83 times. 

The Sorceress, Drama, 5 Acts, New Amsterdam, Oct. 10, 1904, 

5m. 4f. 36 times. 
SWAN, MARK, 

Just Like John. See Broadhurst, George. 
STEPHENSON, B. C, 

The Passport, Farce, 3 Acts, Col. W. Yardley, Princess, Feb. 

10, 1905, 8m. 5f. 6 times. 
SYMONS, ARTHUR, 

Electra, Drama, (Trans, from Hugo von Hofmannsthal's ver- 
sion of the Greek Drama), Garden, Feb. 11, 1908, 7m. llf. 9 times. 
ST. JOHN, CHRISTOPHER, 

The Good Hope, Play, 4 Acts, (Trans, from the Dutch of 

Heijermans) Empire, Feb. 4, 1907, 10m. 8f. 8 times. 
SPOONER, CECIL, 

One Day, Drama, 4 Acts, (From Novel of Elinor Glyn), Metrop- 
olis, March 11, 1912, 14m. 7f. 11 times. 

A Girl in Pawn, 1 Act, Metropolis, July 8, 1912, 6m. 2f. 

The Price She Paid, Play, 4 Acts, (Revised from Louis Lip- 
sky and Avon Ross), Metropolis, June 17, 1912, 5m 3f. 
STRINDBERG, AUGUST, 

The Father, (Trans, by Edith and Warner Oland), Drama, 3 

Acts, Berkeley, April 19, 1912, 5m. 3f. 
STURGIS, GRANVILLE FORBES, 

The Rag Doll's Party, 1 Act Farce, 3m. llf. Published by Wal- 
ter H. Baker & Co., Boston, Mass. 

Papa Pettingill, (French of Labiche and Martin), Farce, 4 

Acts, 10m. 2f. Above Publisher. 

The Fatal Pill, 1 Act Playlet, Harlem Opera House, Oct. 2, 

1911, 2m. 2f. 12 times. 

Two of a Kind, 1 Act Drama, Harlem Opera House, Jan. 8, 

1912, 2m. If. 12 times. 

Madame, 1 Act Sketch, Hotel Astor, Feb. 15, 1910, 3m. If. 

A College Joke, 1 Act Play, Hotel Waldorf-Astoria, April 26, 

1909, 3m. 

The Butcher's Daughter, 1 Act Sketch, Greenpoint Y. M. C. A., 

Brooklyn, Dec. 1, 1908, 3m. If. 

The Girl from Missouri, Melodrama, 4 Acts, 7m. 2f. Several 

seasons on road. 



THE INFLUENCE OF THE DRAMA 179 

Our Circus, Entertainment used by Clubs and Y. M. C. A. all 

over the country. 

Our Mary, 1 Act, Various Theatres, lm. If. 

T. 

TARKINGTON, BOOTH, and WILSON, HARRY LEON, 

The Man From Home, Play, 4 Acts, Astor, Aug. 17, 1908, 11m. 

3f. times. 

Springtime, Play, 3 Acts, Liberty, Oct. 19, 1909, 7m. 5f. 

times. 

Your Humble Servant, Play, 4 Acts, Garrick, Jan. 3, 1910, 8m. 

3f. times. 

Cameo Kirby, Play, 4 Acts, Hackett, Dec. 20, 1909, 8m. 5f. 
times. 

Getting a Polish, Comedy, 3 Acts, Wallack's, Nov. 7, 1910, 9m. 

5f. times. 

Monsieur Beaucaire, Col. E. G. Sutherland, Romantic Comedy, 

4 Acts, 5 Scenes, Daly's (Revived), March 11, 1912, 11m. 8f. 
times. 
THOMAS, AUGUSTUS, 

Mrs. Lemngwell's Boots, Comedy, 3 Acts, Savoy, Jan. 11, 

1905, 6m. 5f. 127 times. 

The Education of Mr. Pipp, Satirical Comedy, Liberty, Feb. 

20, 1905, 7m. 4f. 78 times. 

De Lancey, Comedy, 3 Acts, Empire, Sept. 4, 1905, 10m. 4f. 68 

times. 

The Embassy Ball, Comedy, Acts, Daly's, March 5, 1906, 

7m. 3f. 48 times. 

The Ranger, Play, 4 Acts, Wallack's, Sept. 2, 1907, 14m. 4f. 

32 times. / 

The Witching Hour, Play, 4 Acts, Hackett, Nov. 18, 1907, 9m. 

3f, 212 times. 

The Harvest Moon, Play, 4 Acts, Garrick, Oct. 18, 1909, 6m. 

4f. times. 

As a Man Thinks, Play, 4 Acts, Nazimova's 39th Street, March 

13, 1911, 9m. 4f. times. 

The Model, Comedy, Harris Theatre, Aug. 31, 1912, 9m. 5f. 
THOMAS, A. E., 

What the Doctor Ordered, Comedy, 3 Acts, Astor, Sept. 20, 

1911, m. f. times. 

The Rainbow, Comedy, 3 Acts, Liberty, March 11, 1912, 7m. 

6f. times. 

Her Husband's Wife, Comedy, 3 Acts, Garrick, May 9, 1910, 

3m. 4f. times. 

TURNBULL, MARGARET, 

Classmates. See De Mille, William C. 
TRIMBLE, JESSIE, 

The Wedding Day, Play, 3 Acts, Hackett, Dec. 10, 1909, 4m. %t. 
times. 



180 THE INFLUENCE OF THE DRAMA 



TULLY, MAY, and BULGER, BOZEMAN, 

The Late Mr. Allen, Comedy, 1 Act, Union Square, Aug. 15, 

1912, lm. 3f. 
THOMPSON, CHARLOTTE, 

The Strength of the Weak. See Smith, Alice M. 

The Awakening of Helena Ritchie, Play, 4 Acts, Savoy, (Dram. 

of Novel of Margaret Deland), Sept. 20, 1909, 6m. 3f. times. 

Rebecca of Sunnybrook Farm, Col. Kate Douglas Wiggin, Play, 

4 Acts (From Novel), Republic, Oct. 3, 1910, 4m. 9f. times 
TULLY, RICHARD WALTON, 

The Bird of Paradise, Hawaiian Play, 3 Acts, 5 Scenes, Daly's, 

Jan. 8, 1912, 14m. lit * times. 

Col. in The Rise of the Rancho. 
TURNER, CELIE ELLIS, 

Who's Safe? Comedy, 3 Acts, Carnegie Lyceum, Dec. 22, 1911, 

5m. 5f. Matinee. 
TURNBULL, McPHERSON, 

Genesee of the Hills, Play (From Novel of Marah Ellis Ryan, 

As Told in the Hills), Astor, Feb. 11, 1907, m. f. 26 times. 
TAYLOR, TOM, 

The Fools Revenge, Drama, 5 Acts, (Revived), New Amster- 
dam, Dec. 12, 1905, 8m. 4f. times. 

Our American Cousin, Comedy, 4 Acts, (Revived), Lyric, Jan. 

27, 1908, 9m. 7f. 51 times. 
TALBOT, HAYDEN, 

The Truth Wagon, Comedy, 3 Acts, Daly's, Feb. 26, 1912, 9m. 

4t times. 

TEMAYNE and HALL, 

The Braisley Diamond, Farce, 3 Acts, Madison Square, Jan. 9, 

1906, m. f. 32 times. 
THOMPSON, MRS. VANCE, 

The Lady Shore, Col. Lena R. Smith, Romantic Drama, 4 Acts, 

Hudson, March 28, 1905, 12m. 6t 16 times. 
TREVOR, MAJOR PHILIP, 

Under the Greenwood Tree, Pastoral Play, 1 Act, Garrick, Dec. 

25, 1907, 2m. 5f. 44 times. 

U. 
UNGER, GLADYS, 

Love Watches, Comedy, 4 Acts, (Trans, from French of De 

Flers and Caillavet), Lyceum, Aug. 27, 1908, 7m. lOf. times. 

Inconstant George, Comedy, 3 Acts, (Trans, from French of 

De Flers and Caillavet), Empire, Sept. 29, 1909, 7m. 7t 

times. 

The Marionettes, Comedy, 4 Acts, (Trans, from French of 

Pierre Wolff), Lyceum, Dec. 5, 1911, 8m. 4t times. 

After the Opera, Play, 1 Act, (From French), Berkeley Lyceum, 

1907, m. f. times, 



THE INFLUENCE OF THE DRAMA 181 



(For other Translations made by Miss Unger see other French. 
Playwrights in this List.) 

V. 

VEBER, PIERRE, 

Brother Jacques. See Bernstein, Henri. 
VALENTINE, JOHN, 

The Stronger Sex, Comedy, 3 Acts, Weber's, Nov. 23, 1908, 

5m. 8f. times. 

VEILLER, BAYARD, 

The Primrose Path, Drama, 4 Acts, Majestic, May 6, 1907, 

6m. 9f. 16 times. 

Within the Law, Play, 4 Acts, Eltinge's 42nd St., Sept. 11, 

1912, 15m. 5f. 
VIELE, HERMAN KNICKERBOCKER, 

The House of Silence, Play, Prologue and 3 Acts, Savoy, Jan. 

23, 1906, 7m. 4f. 4 times. 
VON ENDE, AMELIA, 

The Wages of War, Drama, 3 Acts (From German of Wilhelm 

Shauelmann and J. Wegand), Empire, March 12, 1909, Matinee. 
VON MOSER, GUSTAV, 

The Temptress, Comedy, 1 Act, (Trans, from German by Flor- 
ence Beryl), Empire, American Academy of Dram. Arts, March 

12, 1912, 3m. 2f. Matinee. 
VROOM, EDWARD, 

The Luck of MacGregor, Drama, 4 Acts, Garden, April 20, 

1908, 12m. 2f. 8 times. 

W. 

WILDE, OSCAR, 

Mr. and Mrs. Daventry, Play, 4 Acts, Hackett, Feb. 23, 1910, 
5m. 6f. times. 

Salome, Drama, 1 Act, Berkeley Lyceum, Nov. 14, 1905, 1 per- 
formance. 

WILSON, FRANCIS, 

The Bachelor's Baby, Comedy-Farce, 3 Acts, Criterion, Dec. 

21, 1909, 6m. 5f. times. 
WISE, THOMAS A., 

A Gentleman from Mississippi. See Rhoades, Harrison. 
An Old New Yorker. See Rhoades, Harrison. 
WALTER, EUGENE, 

The Undertow, Drama, 4 Acts, Harlem Opera House, April 

22, 1907, 16m. 3f. 12 times. 

Paid in Full, Play, 4 Acts, Astor, Feb. 25, 1908, 4m. 3f. 95 

times. 

The Wolf, Melodrama, 3 Acts, Lyric, April 27, 1908, 5m. If. 33 

times. 



182 THE INFLUENCE OF THE DRAMA 

Just a Wife, Play, 4 Acts, Belasco, Feb. 1, 1910, 4m. 2f. 

times. 

Boots and Saddles. (Inserted merely for record). 

The Trail of the Lonesome Pine, Drama, 4 Acts, (Dram, from 

Novel of John Fox, Jr.), New Amsterdam, Jan. 29, 1912. 6m. 

3f. times. 

The Easiest Way, Drama, 4 Acts, Stuyvesant, February 1, 1909, 

3m. 3f. times. 

Fine Feathers. 
WARNER, ANNE, 

The Rejuvenation of Aunt Mary, Comedy, 3 Acts, (From Novel 

of same name by Miss Warner), Garden, Nov. 12, 1907, 8m. 6f. 

56 times. 
WESTERVELT, LEONIDAS, 

The Fortunes of the King. See Doremus, Mrs. Chas. A. 
WHARTON, ANTHONY P., 

Irene Wycherley, Play, 3 Acts, Astor, Jan. 20, 1908, 5m. 8f. 

39 times. 
WILCOX, ELLA WHEELER, 

Mizpah, Play, 4 Acts, Col. Luscombe Searelle, Academy of 

Music, Sept. 24, 1906, 6m. 5f. 24 times. 
WILSTACH, PAUL, 

Thais, Drama, 3 Acts, (Founded on Romance by Anatole 

France) Criterion, March 14, 1911, 20m. lOf. times. 

WILLIAMS, JESSIE LYNCH, 

The Stolen Story, Play, Acts, Garden, Oct. 2, 1906, 17m. 

4f. 15 times. 
WODEHOUSE, P. G., 

A Gentleman of Leisure. See Stapleton, John. 
WOOLF, EDGAR ALLEN, 

The Vampire, Col. George Sylvester Vioreck; Drama, 3 Acts, 

Hackett, Jan. 18, 1909, 6m. 2f. times. 

My Error, Satire, 1 Act, Fifth Ave., Aug. 12, 1912, lm. If. 

Little Mother, Play, 1 Act, Fifth Ave., Sept. 2, 1912, 3m. If. 
WOOD, DOUGLAS J., 

The Drone. See Bolton, Guy. 
WORMLEY, KATHARINE PRESCOTT, 

The Misanthrope, Comedy, 5 Acts, (Trans, from Moliere), New 

Amsterdam, April 10, 1905, 8m. 4f. times. 

WYATT, FRANK, 

Mrs. Temple's Telegram, Farce, 3 Acts, Madison Square, (Re- 
vived), Feb. 1, 1905, 5m. 4f. 86 times. 
WINSLOW, HERBERT HALL, 

The Spellbinder, Comedy, 3 Acts, Col. Charles Dickinson; Her- 
ald Square, Sept. 5, 1904, 15m. 5f. 16 times. 
WEDEKIND, FRANK, 

Fruchlings Erwachen, (The Awakening of Spring), Tragedy, 3 



THE INFLUENCE OF THE DRAMA 183 



Acts, 15 Scenes, Irving Place, (In German), March 22, 1912, 

16m. 6f. times. 

WELLS, LEILA BURTON, 

Sold for Money, Play, 3 Acts, Metropolis, Sept. 23, 1912, 8m. 7f. 

12 times. 
WEBSTER, HENRY KITCHELL, 

June Madness, Play, 3 Acts, Fulton, Sept. 26, 1912, 4m. 4f. 
WILSON, W. CRONIN, 

The Great Game, Drama, 1 Act, Daly's, May 16, 1912, 3m. 

The First Affair, Pantomime Dance, Music by W. Leonard 

Chalk, Winter Garden, Nov. 2, 1912, lm. If. 
WHITE, JESSIE BRAHAM, 

Snow White, Fairy Tale (from Grimm Bros.) Little Theatre, 

Nov. 7, 1912, 13m. 12f. 

Y. 

YEATS, WILLIAM BUTLER, (Irish Playwright) 

Cathleen Ni Houlihan, Play, 1 Act, Hudson, 1905, 3m. 3f. 

Matinee. 

Teigue the Fool, Hudson, 1905, Matinee. 

Kathleen Ni Houlihan, Play, 1 Act, Maxine Elliott's, Dec. 1, 

1911, 3m. 3f. times. 

The Hour Glass, Play, 1 Act, Hudson, Feb. 21, 1904, 3m. 3f. 3 

times. 

A Pot of Broth, Play, 1 Act, 2m. If. 

The Countess Cathleen, Play, 4 Acts, 8m. 31 Madison Square, 

March 28, 1905, 2 times. 
YOUNG, RIDA JOHNSON, 

Brown of Harvard, Play, 4 Acts, Princess, Feb. 26, 1906, 24m. 

4f. 187 times. 

The Boys of Company B, Comedy, 3 Acts, Lyceum, April 8, 

1907, 14m. 4f. 105 times. 

Glorious Betsy, Play, 4 Acts, Lyric, Sept. 7, 1908, 10m. 5f. 

times. 

The Lottery Man, Comedy, 3 Acts, Bijou, Dec. 6, 1909, 4m. 5f., 
times. 

Macushla, Romantic Comedy, 4 Acts, Grand Opera House, 

Feb. 5, 1912, 7m. 4f. times. 

YOUNG, WILLIAM, 

A Japanese Nightingale, Drama, (Founded on Book of Onoto 

Wotanna), Daly's, 1905. 

Ben-Hur, Drama, 6 Acts, 14 Scenes, (Dram, from Novel of 

Gen. Lew Wallace), New Amsterdam, Dec. 23, 1911, (Revived), 

17m. 5f. times. 

Z. 
ZANGWILL, ISRAEL, 
Children of the Ghetto, (Played in Yiddish,) People's, 1904, 



184 THE INFLUENCE OF THE DRAMA 



The Serio-Comic Giverness, Comedy, 4 Acts, New Lyceum, 
Sept. 13, 1904, 11m. 17f. 41 times. 

Jinny the Carrier, Comedy, 4 Acts, Criterion, April 10, 1905, 
6m. 3f. 21 times. 

Nurse Marjorie, Comedy, 4 Acts, Liberty, Oct. 3, 1906, 8m. 3f. 
49 times. 

The Melting Pot, Drama, 4 Acts, Comedy, Sept. 6, 1909, 5m. 4f. 
times. 



THE INFLUENCE OF THE DRAMA 185 



OTHER PLAYS NOT ARRANGED BY AUTHORS 

PROGRESSIVE STAGE SOCIETY. 

(Berkeley Lyceum, Nov. 14, 1905.) 
The Revolt, Play, 1 Act, Villiers de l'Isle Adam. 
On the Road, 1 Act, Clara Ruge. 
Salome, 1 Act, Oscar Wilde. 

MME. GABRIELLE REJANE'S REPERTORY. 
(Lyric Theatre, 1904.) 
La Passerelle, 

La Robe Rouge, Eugene Brieux, Nov. 14, 1904, 3 times. 
L'Hirondelle, M. Dario Niccodem, Nov. 16, 1904, 2 times. 
Amoreuse, George de Porto Riche, Nov. 7, 1904, 4 times. 
La Parisienne, Nov. 17, 1904, 2 times. 
La Petite Marquise, Nov. 30, 1904, 1 time. 
Lolotte, Nov. 7, 1904, 4 times. 

The Scarlet Lily, 1 Act, March 22, 1907, Matinee, American 
Academy Dramatic Acts. 

The Spark, 1 Act, March 22, 1907, Matinee, American Academy 
Dramatic Arts. 

The Marriage of Kitty, (From French La Passerelle), Farce, 
Hudson. 

Frank Glynn's Wife, 1 Act, Garrick, Oct. 7, 1904> Matinee, Stan- 
hope-Wheatcroft Dramatic Students. 

Love in Idleness, 1 Act, Garrick, Oct. 7, 1904, Matinee, Stan- 
hope- Wheatcroft Dramatic Students. 

Beyond, Mystical Play, Chickering Hall, Boston, Mass., Oct. 
6, 1904. 

Mary, Mary, Quite Contrary, (From Pattes de Mouche of Sar- 
dou), Garrick, Dec. 25, 1905, 6m. 5f. 30 times. 

MME. SARA BERNHARDT'S REPERTORY. 
(Globe Theatre, December, 1910.) 
La Dame Aux Camelias, Dumas fils. 
Le Proces de Jeanne d'Arc. 
La Sorciere, Victorien Sardou. 
La Femme X. 

Les Bouffons, Edmond Rostand. 
L'Aiglon, Edmond Rostand. 
La Samaritaine. 
La Tosca, Victorien Sardou. 
La Beffa. 
Sapho, Alphonse Daudet. 



186 THE INFLUENCE OP THE DRAMA 
AUTHORS OF BOOKS OF MUSICAL PLAYS 

A. 

ADE, GEORGE, 

The Sho-Gun, Comic Opera; Music, Gustave Luders; Wallack's, 

Oct. 10, 1904, 9m. 5f. times. 

The Fair Co-Ed, Musical Comedy, 3 Acts; Music, Gustav 

Luders; Knickerbocker, Feb. 1, 1909, 10m. 5f. times. 

The Old Town, Musical Play, 2 Acts; Music, Gustav Luders; 

Globe, Jan. 10, 1910, 8m. 5f. times. 

(See Dramatists.) 
AMBIENT, MARK, 

The Arcadians, Col. A. M. Thompson; Musical Play, 3 Acts; 

Lyrics, Arthur Wimpers; Music, Lionel Monckton and Howard 

Talbot; Liberty, Jan. 17, 1910, 8m. llf. times. 
ANDERSON, ARTHUR, 

Two Little Brides, Musical Comedy, 2 Acts, Book, Lyrics, 

Arthur Anderson, James T. Powers, Harold Atteridge (German 

of Wilnert Wilhelm,) Music, Gustave Kerker, Casino, Apr. 23, 

1912, 14m. 5f 
ANTHONY, EARLE C, 

The Pearl Maiden; Col. Arthur T. Kales; Musical Play, 3 Acts; 

Music, Harry Ruracher; New York, Jan. 22, 1912, 12m. 3f. 
times. 
AUDRAN, 

The Mascot, Light Opera, New Amsterdam, April 12, 1909, 9m. 

llf. times. 
ADAMS, FRANK, 

The Land of Nod, Col. Will Hough; Extravaganza, 2 Acts; 

Music, Joseph E. Howard and Victor Herbert; Lyrics by Joseph 

V. Hobart; New York, April 1, 1907, 7m. 5f. 17 times. 

The Girl Question. See Hough, William M. 

The Goddess of Liberty, Musical Play, 3 Acts; Col. William 

M. Hough; Music, Joseph Howard; Weber's, Dec. 22, 1909, 

10m. 5f. times. 

A Stubborn Cinderella. See Hough, William M. 

B. 

BRENNER, S. M., 

The Girl and the Governor, Comic Opera, 2 Acts; Music, Julian 
Edwards; Manhattan, Feb. 4, 1907, 7m. 8f. 26 times. 

BAKER, R. MELVILLE, 
Girls Will Be Girls, Col. Joseph Hart; Just Nonsense; Four- 
teenth Street, Aug. 29, 1904, 10m. 5f. 34 times. 
Miss Pocohontas. See Barnett, R. A. 



THE INFLUENCE OP THE DRAMA 187 

BLETHEN, JOSEPH, 

The Alaskan, Comic Opera, Prologue and 2 Acts; Music, Harry 

Girard; Knickerbocker, Aug. 12, 1907, 7m. 4f. 29 times. 
BOWERS, ROBERT HOOD, 

A Certain Party, Musical Farce, 3 Acts, Wallack's, April 24, 

1911, 15m. llf. times. 
BURNSIDE, R. H., 

The Tourists, Musical Comedy, 2 Acts; Music, Gustave Kerker; 

Majestic, Aug. 25, 1906, 7m. 4f. 132 times. 

My Lady's Maid, Col. Edward Paulton; Musical Play, 2 Acts, 

(From Paul Rubens and Percy Greenbank) ; Lyrics, Paul 

Reubens and Percy Greenbank; Music, Paul Rubens; Casino, 

Sept. 20, 1906, 13m. 4f. 44 times. 

Fascinating Flora, Col. Joseph Herbert; Musical Play, Acts, 

Music, Gustave Kerker; Casino, May 27, 1907, 7m. 5f. 121 times. 

The Pied Piper, Col. Austin Strong; Musical Comedy, 2 Acts; 

Music, Manuel Klein; Majestic, Dec. 3, 1908, 8m. 7f. times. 

The Three Romeos, Musical Comedy, 3 Acts; Music, Raymond 

Hubbell; Globe, Nov. 13, 1911, m. f. times. 

Sporting Days, New York Hippodrome, 1908. 

The International Cup, New York Hippodrome, Sept. 3, 1910. 

Ballet of Niagara, New York Hippodrome, Sept. 3, 1910. 

The Earthquake, New York Hippodrome, Sept. 3, 1910. 

The Auto Race, New York Hippodrome, Sept. 3, 1910. 

(There are other Hippodrome spectacles by this gentleman, 

who is regularly employed to write and stage them.) 
BLOSSOM, HENRY, 

Mile. Modiste, Comic Opera, 2 Acts; Music, Victor Herbert; 

Knickerbocker, Dec. 25, 1905, 8m. 7f. 149 times. 

The Red Mill, Musical Play, 2 Acts; Music, Victor Herbert; 

Knickerbocker, Sept. 24, 1906, 8m. lOf. 274 times. 

The Prima Donna, Comic Opera, 2 Acts; Music, Victor Herbert; 

Nov. 30, 1908, 10m. 5f. times. 

The Slim Princess, Comedy, 3 Acts; Music, Leslie Stuart; 

Globe, Jan. 2, 1911, 11m. 5f. times. 

Baron Trenck, Comic Opera, 2 Acts; Lyrics, F. F. Schrader; 

Music, Felix Albini; Casino, March 11, 1912, 9m. 6f. times. 

The Man from Cook's, Musical Comedy, 2 Acts; (From French 

of Maurice Ordonneau) ; Music, Raymond Hubbell; New Am- 
sterdam, March 25, 1912; 18m. 16f. times. 
BARNARD, ARMAND, 

A Matinee Idol, Musical Comedy, 2 Acts; (From Moliere's 

Un Medicin MalgrS Lui) ; Lyrics, E. Goetz and Seymour Brown; 

Music, Silvio Hein; Daly's, April 28, 1910, 8m. 6f. times. 
BROWNE, WALTER, 

Molly May, Comic Opera, 3 Acts; Music, Julian Edwards; 

Hackett, April 8, 1910, 5m. 7f. times. 



188 THE INFLUENCE OF THE DRAMA 



(See Dramatists.) 
BANGS, JOHN KENDRICK, 

Lady Teazle, (Musical Version of The School for Scandal), 

Music, Roderick Penfield and A. Baldwin Sloane; Casino, 

Dec. 24, 1904, 10m. 5f. 60 times. 

The Man from Now, Col. Vincent Bryan; Musical Fantasy; 

Music, Manuel Klein; New Amsterdam, Sept. 3, 1906, 6m. 6f. 

28 times. 
BUCHBINDER, BERNARD, 

The Girl and the Kaiser, Operetta, 3 Acts; (English Version 

made by Leonard Liebling) ; Music, George Zarno; Herald 

Square, Nov. 22, 1910, 10m. 4f. times. 
BANTOCK, LEEDHAM, 

The Belle of Brittany, Col. P. J. Banon and Percy Greenbank; 

Musical Play, 2 Acts; Music, Howard Talbot and Marie Home; 

Daly's, Nov. 8, 1910, 11m. 6f. times. 
BARNETT, R. A., 

Miss Pocohontas, Col. R. M. Baker; Musical Comedy, 2 Acts; 

Music, Dan. J. Sullivan, Augustus Barnett, and Carl Willimore; 

Lyric, Oct. 28, 1907, 12m. llf. 17 times. 
BERNAUER, RUDOLPH, 

The Chocolate Soldier, Col. Leopold Jacobson; Operetta, 3 

Acts; Music, Oscar Strauss, Lyric, Sept. 13, 1909, 5m. 4f. 

times. 

C. 
COURTNEIDGE, ROBERT, 

Tom Jones, Col. A. M. Thompson; Comic Opera, 3 Acts; Lyrics, 

Chas. H. Taylor; Music, Edward German; Astor, Nov. 11, 1907, 

15m. 4f. 65 times. 

The Babes and the Baron, Col. A. M. Thompson; Spectacular 

Extravaganza; Music, H. E. Haines; Lyric, Dec. 25, 1905, 

45 times. 
CAMPBELL, CHARLES J., 

The Gay Musician, Col. Siedle; Comic Opera, 2 Acts; Music, 

Julia Edwards; Wallack's, May 18, 1908, 9m. llf. times. 

The Motor Girl, Col. Ralph M. Skinner; Musical Comedy, 2 

Acts; Music, Julian Edwards; Lyric, June 15, 1909, 11m. 15f. 
times. 
COOK, CHARLES EMERSON, 

The Rose of the Alhambra, Col. Lucius Hosmer; Comic Opera, 

Majestic, Feb. 4, 1907, 9m. 7f. 26 times. 
CHAMBERS, KELLETT, 

Betsy, Comedy with Music, 3 Acts; Lyrics, Will B. Johnstone; 

Music, Charles E. Candee, Jr.; Herald Square, Dec. 11, 1911, 

7m. 5f. times. (See Dramatists.) 
COLE, BOB., 

The Shoo-Fly Regiment, Musical Comedy; Lyrics, James W. 



THE INFLUENCE OF THE DRAMA 189 



Johnson; Music, J. Rosamond Johnson; Bijou, Aug. 6, 1907, 
m. f. 38 times. 

The Red Moon, Musical Comedy; Music, J. Rosamond John- 
son; Majestic, May 3, 1909, 11m. lOf. times. 
COHAN, GEORGE M„ 

Little Johnny Jones, Musical Play, 2 Acts, Liberty, Nov. 7, 

1904, 9m. 4f. 52 times. 

Forty-Five Minutes From Broadway, Musical Comedy, 2 Acts, 

New Amsterdam, Jan. 1, 1906, 10m. 12f. 90 times. Revived at 

George M. Cohan's Theatre, March 14, 1912, times. 

George Washington, Jr., Musical Comedy, Acts, Herald 

Square, Feb. 12, 1906, 13m. 3f. 81 times. 

The Talk of New York, Musical Play, 4 Acts, Knickerbocker, 

Dec. 3, 1907, 12m. 6f. 165 times. 

Fifty Miles from Boston, Musical Play, Acts, Garrick, Feb. 

3, 1908, 10m. 7f. 40 times. 

The Yankee Prince, Musical Play, Acts, Kinckerbocker, 

April 20, 1908, 12m. 4f. 28 times. 

The Man Who Owns Broadway, Musical Play, 3 Acts, New 

York, Oct. 11, 1909, 12m. 4f. times. 

(See Dramatists.) 
CARLE, RICHARD, 

The Mayor of Tokio, Farcical Opera, 2 Acts; Music, W. F. 

Peters; New York, Dec. 11, 1905, 7m. 8f. 50 times. 

The Hurdy-Gurdy Girl, Musical Comedy, 3 Acts; Music, H. L. 

Heartz; Wallack's, Sept. 23, 1907, 10m. 6f. 24 times. 

Mary's Lamb, Musical Comedy, 3 Acts; (From French, Mme. 

Mongodin) ; New York, May 25, 1908, 10m. 9f. times. 

The Boy and the Girl, Musical Play, 2 Acts; Lyrics, M. E. 

Rourke; Music, M. L. Heartz and Richard Carle; New Am- 
sterdam Aerial Gardens, May 31, 1909, 7m. llf. times. 

Jumping Jupiter, Col. Sydney Rosenfeld; Farce, 3 Acts; Music, 

Karl Hoschna; New York, March 6, 1911, 7m. 18f. times. 
CALDWELL, ANNE, AND McCARTY, LAWRENCE, 

The Lady of the Slipper, Musical Comedy, 3 Acts, Lyrics, 

James O'Dea; Music, Victor Herbert, Globe, Oct. 28, 1912, 12m. 

13f. (This is Cinderella brought up-to-date.) 

D. 

DAVIS, RICHARD HARDING, 

A Yankee Tourist, Musical Farce, Acts; Lyrics, Wallace 
Irwin; Music, Alfred G. Robyns; Astor, Aug. 12, 1907, 9m. 7f. 
Ill times. 
(See Dramatists.) 

DICKSON, CHARLES, 
Three Twins, Musical Play, 2 Acts, (From Mrs. Packer's In- 
cog) ; Herald Square, June 15, 1908, 7m. 6f. times, 



190 THE INFLUENCE OF THE DRAMA 



Bright Eyes, Musical Play, 3 Acts, (Adapted from Mistakes 
Will Happen, by Charles Dickson and Grant Stewart) ; Lyrics, 
Otto A. Heuerbach; Music, Karl Hoschna; New York, Feb. 
28, 1910, 7m. it. times. 
(See Dramatists.) 

DE GRESSAC, FRED, 

The Enchantress. See Smith, Harry B. 
The Wedding Trip. See Smith, Harry B. 

DE MILLE, CECIL B., 
At the Barracks, 1 Act, Operetta, Book; Lyrics, Grant Stewart; 
Music, Robt. Hood Bowers, Alhambra, Sept. 30, 1912, 4m. 
2f. times. 
(See Dramatists.) 

E. 

ELLIS, HAROLD, 

The Blue Moon, Musical Comedy, 2 Acts; Lyrics, Harold 
Talbot; Music, Paul A. Rubens; Casino, Nov. 5, 1906, 9m. 6f. 
76 times. 

G. 

GROSSMITH, GEORGE, JR., 

The Girls of Gottenberg, Col. L. E. Berman; Musical Comedy, 
2 Acts; Music, Ivan Caryll and Lionel Monckton; Knicker- 
bocker, Sept. 2, 1906, 17m. 15f. times. 

Havana, Col. Graham Hill; Musical Play, 3 Acts; Music, Leslie 
Stuart; Casino, Feb. 11, 1909, 13m. llf. times. 
The Dollar Princess, Musical Comedy, 3 Acts; (Adapted from 
Willner and Grunbaum) ; Music, Leo Fall; Knickerbocker, 
Sept. 6, 1909, 8m. 8f. times. 

Peggy, Musical Play, 2 Acts; (Founded on Xanroff and Guerin's 
L'Amoreage) ; Lyrics, C. H. Bovil; Music, Leslie Stuart; 
Casino, Dec. 7, 1911, 11m. llf. times. 

GILBERT AND SULLIVAN, 

The Mikado, Comic Opera, 2 Acts, (Revived) Casino, May 30, 

1910, 6m. 4f. times. 

Pinafore, Comic Opera, 2 Acts, (Revived), Casino, May 29, 

1911, 9m. 3f. times. 

Patience, Comic Opera, 2 Acts, Lyric, May 6, 1912, 5m. 5f. 

times. 
Pirates of Penzance, Comic Opera, 2 Acts, Casino, June 3, 

1912, 5m. 5f. times. 

H. 

HAMILTON, HENRY, 

The School Girl. See Potter, Paul M. 

The Dutchess of Dantzic, Light Opera, 3 Acts (Sardou's Mme. 

Sans Gene); Music, Ivan Caryll; Daly's, Jan. 1905, 6m. lOf. 

93 times. 

The Little Michus, Musical Play, 3 Acts (From Van Loo and 



THE INFLUENCE OF THE DRAMA 191 



Duval); Music, Andre Massager; Garden, Jan. 31, 1907, m. 
f. 29 times. 
HAMILTON, COSMO, 

The Catch of the Season, Col. Seymour Hicks; Musical Piece, 

Daly's, Aug. 28, 1905, 7m. 8f. times. 

The Belle of Mayfair, Col. H. E. Brookfield;- Musical Comedy; 

Music, Leslie Stuart; Daly's, Dec. 3, 1906, 4m. lOf. times. 

The Hoyden, Musical Comedy (From French) ; Music, John L. 

Golden and Robert Hood Bowers; Knickerbocker, Oct. 19, 1907, 

8m. 9f. 66 times. 

(See Dramatists.) 
HOPWOOD, AVERY, 

Judy Forgot, Musical Comedy, 2 Acts; Music, Silvio Hein; 

Broadway, Oct. 6, 1910, 5m. 8f. times. 

(See Dramatists.) 
HAUERBACH, OTTO, 

Madame Sherry, Musical Play, 3 Acts (Eng. Version arranged 

by George Edwards), Music Karl Hoschna, New Amsterdam, 

Aug. 30, 1910, 5m. 13f. times. 

The Fascinating Widow, Musical Comedy, 3 Acts, Liberty, 

Sept. 11, 1911, 7m. 12f. times. 

Dr. De Luxe, Musical Play, 3 Acts, Music, Karl Hoschna, Knick- 
erbocker, April 17, 1911, 7m. 15f. times. 

The Girl of My Dreams, Col. Wilbur Nesbit, Musical Play, 2 

Acts, Music, Karl Hoschna, Criterion, Aug. 7, 1911, 7m. 5f. 
times. 
HOFFMAN, AARON, 

The Young Turk, Musical Play, 2 Acts, Lyrics, Harry Williams, 

Music, Max Hoffman, New York, Jan. 3, 1910, 11m. 4f. times. 

The Newlyweds and Their Baby, Col. Paul West, Musical Com- 
edy, 2 Acts, Music, Nat. D. Ayer and John W. Bretton, Majestic, 

March 22, 1909, 8m. 9f. times. 

The Rogers Bros, in Panama, Col. Sylvester Maguire, Musical 

Play, Acts, Lyrics, Edward Madden, Music, Max Hoffman, 

Broadway, Sept. 2, 1907, 79 times. 

Let George Do It, Musical Comedy, 2 Acts, 4 Scenes (based on 

Cartoons of Geo. McManus), Songs, Paul West and Nat D. 

Ayer, West End, April 22, 1912, 12m. 5f. 
HARRIS, WILLIAM, JR., 

A Skylark, Musical Comedy, 2 Acts, Music, Frank G. Dossert, 

New York, April 4, 1910, 7m. 14f. times. 
HAVEZ, JEAN C, 

The Girl From Brighton, Musical Comedy, 2 Acts, Book and 

Lyrics, Music, Wm. Becker, Academy of Music, Aug. 31, 1912, 

10m. 6f. 
HUBL, PAUL, 

Die Musterweiber (Sample Wives), Col. C. Quedenfeldt, Operst- 



192 THE INFLUENCE OF THE DRAMA 

ta, 3 Acts, Music, Franz Werther, Irving Place (In German), 
Jan. 31, 1912, 9m. 5f. times. (First American Presentation.) 
HOBART, GEORGE V., 

Moonshine, Musical Play, 2 Acts, Col. Edwin Milton Royle, 
Music, Silvio Hein, Liberty, Oct. 30, 1905, 8m. 5f. 53 times. 
Coming Thro the Rye, Musical Extravaganza, Music, A. Bald- 
win Sloane and J. Sebastian Hiller, Herald Square, Jan. 9, 

1906, m. f.. 34 times. 

The Boys and Betty, Musical Play, 3 Acts, Music, Silvio Hein, 

Wallack's, Nov. 2, 1908, 8m. 13f. times. 

The Candy Shop, Musical Play, 2 Acts, Lyrics, John L. Golden, 

Knickerbocker, April 27, 1909, 8m. 9f. times. 

Follies of 1911, Extravaganza, 2 Acts, Music, Maurice Levi and 

Raymond Hubbell, Jardin de Paris, June 26, 1911, 7m. 25f. 

times. 
The Yankee Girl, Musical Comedy, 3 Acts, Music, Silvio Hein, 
Herald Square, Feb. 10, 1910, 10m. 5f. times. 

Over the River, Musical Farce, 3 Acts (From H. A. DuSuchet's 
Man from Mexico), Music, John L. Golden, Globe, Jan. 8, 1912, 
12m. 8f. times. 

(See Dramatists.) 

The Woman Haters, Operetta, 3 Acts (From German Die 
Frauenfresser, by Leo Stein and Karl Lindau), Music Edmund 
Eysier, Astor, Oct. 7, 1912, 12m. 13f. 
HOUGH, WILLIAM H., 
The Time, the Place, and the Girl, Col. Frank Adams, Musical 
Comedy, 3 Acts, Music, Joseph E. Howard, Wallack's Aug. 5, 

1907, 11m. 3f. 32 times. 

The Girl Question, Col. Frank Adams, Musical Comedy, 3 Acts, 
Music, Joseph E. Howard, Wallack's, Aug. 3, 1908, 11m. 3f. 
times. 

The Goddess of Liberty. See Adams, Frank. 
A Stubborn Cinderella, Col. Frank Adams, Musical Play, 3 
Acts, Music, Joseph E. Howard, Broadway, Jan. 25, 1909, 8m. 4f. 
times. 

HERFORD, OLIVER, 

The Love Cure, Musical Play, 3 Acts (From German of Leo 
Stein and Karl Lindau), Music, Edmund Eysier, New Amster- 
dam, Sept. 1, 1909, 15m. 6f. times. 

HICKS, SEYMOUR, 

The Earl and the Girl, Musical Comedy, 2 Acts, Lyrics, Percy 

Greenbank, Music, Ivan Caryll, Casino, Nov. 4, 1905, 9m. 5f. 148 

times. 

The Catch of the Season. See Hamilton, Cosmo. 

HOYT, CHARLES H., 
A Winsome Widow, Musical Farce, 3 Acts, 5 Scenes, founded 
on Author's A Trip to Chinatown, Music, Raymond Hubbell and 



THE INFLUENCE OF THE DRAMA 193 

Marvin Rougl, April 11, 1912, 13m. 16f. 
HERBERT, JOSEPH, 

The Duchess. See Smith, Harry B. 

The Social Whirl, Col. Joseph Doty; Musical Comedy, 2 Acts; 

Music, Gustave Kerker; Casino, April 9, 1906, 6m. 7f. 50 times. 

About Town, Musical Review; Music, Melville Ellis and Ray- 
mond Hubbell; Herald Square, Aug. 30, 1906, 9m. 5f. 138 times. 

The Orchid. See Tanner, James T. 

The Beauty Spot, Musical Play, 2 Acts; Music, Reginald de 

Koven; Herald Square, April 10, 1909, 11m. 19f. times. 

Facinating Flora, see Burnside, R. H. 

A Waltz Dream, Operetta, 3 Acts (From Felix Doermann and 

Leopold Jacobson); Music, Oscar Strauss; Broadway, Jan. 27, 

1908, 6m. 5f 111 times. 

Madame Troubadour, Operetta, 3 Acts, (Sardou's Divorcons) ; 

Music, Felix Albini; Lyric, Oct. 10, 1910, 4m. 4f. times. 

HALL, OWEN, 

Sargeant Brue, Musical Farce, 3 Acts; Music, Liza Lehman; 

Knickerbocker, April 24, 1905, 11m. 4f. 40 times. 

The Little Cherub, Musical Comedy, 3 Acts; Music, Ivan 

Caryll; Criterion, Aug. 6, 1906, 11m. If. 206 times. 
HOWARD, JOSEPH E., 

The District Leader, Musical Comedy Drama; Wallack's, April 

30, 1906, 13m. 4f. 8 times. 
HOWARD, SHAFTER, 

His Majesty, Musical Comedy, 2 Acts, Majestic, March 19, 

1906, 5m. 3f. 24 times. 
HAROLD, FRANK, 

Victoria Amoris, Poetic Drama, 1 Act; Music, Courtlandt 

Palmer, Waldorf-Astoria; Dec. 19, 1911, 2m. 4f. 1 time. 

I 
IRWIN, WALLACE, 

The Dove of Peace, Comic Opera, 3 Acts, Music, Walter Dam- 

rosch, Broadway, Nov. 4, 1912, 9m. 3f. (Mr. Damrosch's first 

Opera!) 

K. 
KRAATZ and VON STERK, 

Mile. Mischief, Operetta, 3 Acts; Music, E. M. Ziehrer; Lyric, 

Sept. 28, 1908, 10m. 7f. times. 

KENNEDY, FRANK, 

Puss in Boots, Musical Comedy in 4 Scenes, Pantomine by 

Jean Bedini; American Book by Kennedy; Lyrics, Wm. J. 

McKenna, Music, B. A. Rolfe, Fifth Ave. Oct. 21, 1912, 4m. 

3f. 24 times. 

L. 
LOFTUS, CECILIA, 

The Lancers, Col. George Spink, Entertainment, 3 Acts; Daly's, 



194 THE INFLUENCE OF THE DRAMA 



Dec. 2, 1907, 12m. 7f. 12 times. 

LE BARON, WILLIAM, 

The Echo, Musical Play, 2 Acts; Music, Deems Taylor; Globe, 
Aug. 17, 1910, 7m. 9f. times. 

The Trained Nurses, Musical Comedy, 1 Act, Music, Leo Ed- 
wards, Lyrics, Blanche Merrill and Wm. Le Baron, Colonial, 
Sept. 16, 1912, 3m. 3f. 

LONSDALE, FREDERICK, 
The King of Cadonia, Musical Comedy, 2 Acts, Lyrics, Adrian 
Ross and M. E. Rourke, Music, Sidney Jones and Jerome D. 
Kern, Daly's, Jan. 10, 1910, 6m. 5f. times. 

The Balkan Princess, Col. Frank Curzon, Musical Play, Pro- 
logue and 2 Acts, Lyrics, Paul A. Rubens and Arthur Wimperis, 
Music, Paul A. Rubens, Herald Square, Feb. 9, 1911, 11m. 14f. 
times. 

LASZKY, A. BELA, 

Brigantino, Operetta, 1 Act, Irving Place (In German), Jan. 2, 
1912, lm. If. times. 

LANDESBURG, A., 

Das Suesse Maedel (The Sweet Girl), Col. Leo Stein, Operetta, 
3 Acts, Music, Heinrich Reinhardt, Irving Place (In German), 
Jan. 25, 1912, 8m. 4f. times. 

LEON, VICTOR, 

Die Lustige Wittue (The Merry Widow), Col. Hugo Von Wald- 
berg, Operetta, 3 Acts, Music, Franz Lehar, Irving Place (Re- 
vived in German), Nov. 15, 1911, 9m. 5f. times. 
The Opera Ball, Operetta, 3 Acts, Music; Richard Heuberger, 
Irving Place, (in German), Dec. 1, 1911, 6m. 6f. times. 
The Opera Ball (Trans, by Clare Kummer), (In English), 
Liberty, Feb. 12, 1912, 6m. 9f. times. 

LUBELSKI, TONY, 
Night Follies of San Francisco, Musical Comedy, 1 Act, Keith's 
Bronx, Sept. 23, 1912, 5m. 3f. 

LAVINE, EDWARD M., 
Miss Helen of Troy, Musical Comedy, 2 Acts, Book, Lyrics, 
and Music, Chas. Gilpin, New Amsterdam, April 26, 1912, 5m. 7f. 
(By Mask and Wig Club of University of Pennsylvania.) 

M. 

MC CREE, JUNIE, 

Mama's Baby Boy, Musical Farce, 3 Acts, Book and Lyrics, 
Music, Hans S. Linne. Additional numbers, Will H. Becker, 
Broadway, May 25, 1912, 4m. 5f. 

MC LELLAN, C. M. S., 
The Pink Lady, Musical Comedy, 3 Acts (French of Georges 
Berr and Marcel Guillemaud), Music, Ivan Caryll, New Amster" 
dam, March 13, 1911, X4m. 15f. times, 



THE INFLUENCE OF THE DRAMA 195 

Marriage a la Carte, Musical Comedy, 3 Acts, Music, Ivan 

Caryll, Casino, Jan. 2, 1911, 9m. 9f. times. 

(See Dramatists.) 

Oh, Oh, Delphine, Musical Comedy, 3 Acts, Book and Lyrics, 

Music, Ivan Caryll (French of Villa Primrose, by Geo. Berr and 

Marcel Guillemaud), Knickerbocker, Sept. 30, 1912, 8m. 12f. 

MANNERS, J. HARTLEY, 

The Girl and the Wizard, Play, 2 Acts, Lyrics, Robert B. Smith 

and Edward Madden, Music, Julian Edwards, Casino, Sept. 27, 

1909, 14m. 5f. times. 

The Prince of Bohemia, Musical Play, 2 Acts, Lyrics, E. R. 

Goetz, Music, A. Baldwin Sloane, Hackett, Jan. 14, 1910, 10m. 5f. 

times. 

(See Dramatists.) 

MAC DONOUGH, GLEN, 
The Midnight Sons, Musical Play, 2 Acts, Music, Raymond 
Hubbell, Broadway, May 22, 1909, 12m. 9f. times. 

The Rose of Algeria, Musical Play, 2 Acts, Music, Victor Her- 
bert, Herald Square, Sept. 20, 1909, 9m. 9f. times. 
It Happened in Nordland, Musical Extravaganza, Music, Victor 
Herbert; Lew Field's, Dec. 5, 1904, m. f. 154 times. 
Wonderland, Extravaganza, 3 Acts; Music, Victor Herbert; Ma- 
jestic, Oct. 24, 1905, 7m. 8f. 73 times. 

Algeria, Musical Play, 2 Acts; Music, Victor Herbert; Broad- 
way, Aug. 31, 1908, 8m. 8f. times. 

The Hen-Pecks, Musical Play, 2 Acts; Rhymes, E. Ray Goetz; 
Music, A. Baldwin Sloane; Broadway, Feb. 4, 1911, 11m. 12f. 
times. 

The Jolly Bachelors, Musical Play, 2 Acts; Music, Raymond 
Hubbell; Broadway, Jan. 6, 1910, 9m. 7f. times. 

The Summer Widowers, Musical Panorama in 7 Views; Music, 
A. Baldwin Sloane; Broadway, June 4, 1910, 13m. 7f. times. 

The Court of Luxembourg (German of Willner and Bodouzky), 
Music, Franz Lehar. Lyrics, Adrian Ross and Basil Hurd; 
New Amsterdam, Sept. 16, 1912, 13m. 9f. 

MC NALLY, JOHN J., 
Fritz in Tammany Hall, Musical Play, Herald Square, Oct. 16, 
1905, 43 times. 

Lola from Berlin, Comedy, 3 Acts; Music, William Jerome and 
Jean Schwartz; Liberty, Sept. 23, 1907, 7m. 6f. 43 times. 
Fluffy Ruffles, Musical Play, 3 Acts; Lyrics, Wallace Irwin; Mu- 
sic, W. T. Francis; Criterion, Sept. 7, 1908, 12m. 20f. times. 
In Hayti, Musical Comedy, 3 Acts; Music, William Jerome and 
Jean Schwartz; Circle, Aug. 30, 1909, m. f. times. 

MAYO, MARGARET, and SELWYN, EDGAR, 
The Wall Street Girl, Musical Play, 3 Acts, Book; Lyrics, 
Hapgood Burt, Music, Karl Hoschna, Cohan Theatre, April 15, 



196 THE INFLUENCE OF THE DRAMA 



1912, 11m. llf. 

(See Dramatists.) 
MORTON, MICHAEL, 

Tantalizing Tommy, Musical Comedy, 3 Acts (French of Paul 

Genault); Lyrics, Adrian Ross, Music, Dr. Hugo Felix, 9m. 6f. 

(See Dramatists.) 

O. 
OFFENBACH, 

Die Schoene Helena (La Belle Helene, or The Beautiful Helen), 

Opera Bouffe, 3 Acts, Irving Place (Revived in German), Feb. 

27, 1912, 11m. 2f. times. 

P. 
PIXLEY, FRANK, 

Woodland, Musical Fantasy, 2 Acts; Music, Gustav Luders; 

New York, Nov. 21, 1904, 8m. 5f. 83 times. 

The Grand Mogul, Musical Comedy, 3 Acts; Music, Gustav 

Luders; New Amsterdam, March 25, 1907, 10m. 6f. 40 times. 

Marcelle, Operetta, 2 Acts; Music, Gustave Luders; Casino, 

Oct. 1, 1908, 10m. 6f. times. 

POTTER, PAUL M., 

The School Girl, Col. Henry Hamilton; Music, Leslie Stuart; 

Daly's, Sept. 1, 1904, 8m. 18f. 120 times. 

Queen of the Moulin Rouge, Musical Show, Innumerable 

Scenes; Music, John T. Hall; Circle, Dec. 7, 1908, 6m. 5f. 

times. 
PENFIELD, RODERICK C, 

The White Hen, Musical Comedy, 2 Acts; Lyrics, Roderick 

Penfield and Paul West; Music, Gustave Kerker; Casino, Feb. 

16, 1907, 5m. 8f. 94 times. 
PAULTON, EDWARD, 

Princess Beggar, Comedy Opera, 2 Acts; Music, Alfred G. 

Robyn; Casino, Jan. 7, 1907, 7m. 5f. 40 times. 
PIGOTT, J. W., 

Kitty Grey, Musical Comedy (From French) ; Music, Lionel 

Monckton and Howard Talbot; New Amsterdam, Jan. 25, 1909, 

8m. 12f. times. 

POLLOCK, CHANNING, 

The Red Widow, Col. Rennold Wolf; Musical Play, 3 Acts; 

Music, Charles J. Gebest; Astor, Nov. 6, 1911, 13m. 5f. times. 

My Best Girl, Col. Rennold Wolf, Book and Lyrics; Music, 

Clifton Crawford and Augustus Barrett, Park, Sept. 16, 1912, 

11m. 7f. 
PUCCINI, GIACOMO, 

Madame Butterfly, Opera, 3 Acts (Based on Play of John 

Luther Long) ; Garden, Nov. 12, 1906, 9m. 6f. 49 times. 
PEPLE, EDWARD, 

The Charity Girl, Musical Play, 3 Acts; Book and Lyrics. Ad- 



THE INFLUENCE OF THE DRAMA 197 

ded Lyrics, Melville Alexander. Music, Victor Hollaendcr, 
Globe, Oct. 2, 1912, 15m. 4f. 
PECK, RAYMOND W., 
First Love, 1 Act Operetta, Book, Lyrics, Melville Alexander; 
Music, Arotol Friedland, Colonial, Oct. 7, 1912, 2m. If. 

R. 

RUBENS, PAUL A., 

Miss Hook of Holland, Col. Austin Hurgon; Musical Play, 2 

Acts, Criterion, Dec. 31, 1907, 8m. 6f. 119 times. 
ROYLE, EDWIN MILTON, 

Moonshine. See Hobart, George V. 

Marrying Mary, Musical Play, Acts; Music, Silvio Hein; 

Daly's, Sept. 3, 1906, 7m. 3f. 52 times. 

(See Dramatists.) 
RANKEN, FREDERICK, 

Happyland, Comic Opera, 2 Acts; Music, Reginald de Koven; 

Lyric, Oct. 2, 1905, 7m. 4f. 136 times. 

The Gingerbread Man, Extravaganza, 2 Acts; Music, A. Bald- 
win Sloane; Liberty, Dec. 25, 1905, 24 times. 
ROTH, DON, 

The Merry Whirl, Musical Entertainment in 2 Parts; Music, 

Leo Edwards; New York, May 30, 1910, 7m. 12f. times. 

ROSENFELD, SYDNEY, 

Jumping Jupiter. See Carle, Richard. 

The Rollicking Girl, Musical Play, 3 Acts; Music, W. T. 

Francis; Herald Square, May 1, 1905, 10m. 4f. 33 times. 

The Vanderbilt Cup, Musical Play, 2 Acts; Lyrics, Raymond 

Peck; Music, Robert Hood Bowers; Broadway, Jan. 15, 1906, 

8m. lOf. 143 times. 

The Gay White Way, Musical Review, 3 Acts; Music, Ludwig 

Englander; Casino, Oct. 7, 1907, 11m. 12f. 113 times. 

The Rose of Panama, Col. John L. Shine; Opera Comique, 3 

Acts; Music, Henrich Borte (From Kroelenblut, by Ignatz 

Schneitzler and Emerich von Gatti) ; Daly's, Jan. 22, 1912, 12m. 

4f. times. 

(See Dramatists.) 

S. 
STODDARD, GEORGE E., 

The Isle of Spice, Col. Allen Lowe; Musical Extravaganza, 2 

Acts; Music, Paul Schindler and Ben Jerome; Majestic, Aug. 

23, 1904, 8m. 12f. 80 times. 

The Royal Chef, Col. Charles S. Taylor; Musical Extravaganza, 

3 Acts; Lyric, Sept. 1, 1904, 7m. llf. 17 times. 
SWAN, MARK E., 

The Press Agent, Col. John P. Wilson; Musical Comedy, 2 Acts; 

Lew Fields, Nov. 29, 1905, 9m. 7f. times. 



198 THE INFLUENCE OF THE DRAMA 



The Top o' the World, Musical Extravaganza, 2 Acts; Lyrics, 
James O'Dea; Music, Manuel Klein and Anna Caldwell; Majes- 
tic, Oct. 19, 1907, 9m. 7f. 156 times. 

Miss Jack, Musical Comedy, 3 Acts; Music, William F. Peters; 
Herald Square, Sept. 4, 1911, 6m. 25f. times. 

He Came from Milwaukee, Musical Comedy, 2 Acts; Lyrics, 
Edward Madden; Music, Ben. M. Jerome and Louis A. Hirsch; 
Casino, Sept. 21, 1910, 12m. 6f. times. 

(See Dramatists.) 

SHIPP, J. A., 
Abyssinia, Col. Alex. Rogers; Musical Show; Music, Will Mar- 
ion Cook and Bert A. Williams; Majestic, Feb. 19, 1906, m. 
f. times. 

Mr. Lode of Koal, Col. Alex. Rogers; Play, 3 Acts; Music, J. 
Rosamond Johnson and Bert Williams; Majestic, Nov. 1, 1909, 
13m. 6f. times. 

STANGE, STANISLAUS, 
Love's Lottery, Comic Opera; Music, Julian Edwards; Broad- 
way, Oct. 3, 1904, 5m. 3f. 50 times. 

The Two Roses, Comedy-Opera; Music, Ludwig Englander; 
Broadway, Nov. 21, 1904, 4m. 2f. 20 times. 
The Student King, Col. Frederick Rankin; Romantic Light 
Opera; Music, Reginald de Koven; Garden, Dec. 25, 1906, 7m. 
8f. 40 times. 

The Girl in the Taxi, Musical Play, 3 Acts (Adapted from 
Anthony Mars). 

SMITH, GEORGE TOTTEN, 
Buster Brown, Col. C. Newman, Extravaganza, 2 Acts; Majes- 
tic, Jan. 24, 1905, 6m. 3f. 95 times. 

The Deacon and the Lady, Musical Play, 2 Acts; Music, Alfred 
E. Aarons; New York, Oct. 4, 1910, 9m. 6f. times. 

SMITH, EDGAR, 
The College Widower, Burlesque, 1 Act, Weber's Music Hall, 
Jan. 5, 1905, 7m. 4f. 93 times. 

Higgledy Piggledy, Burlesque; Music, Maurice Levy; Weber's, 
Oct. 27, 1904, 7m. 7f. 185 times. 

Twiddle-Twaddle, Burlesque; Music, Maurice Levy; Joe Web- 
er's, Jan. 1, 1906, 5m. 5f. 137 times. 

Dream City and The Magic Knight, Extravaganzas; Music, 
Victor Herbert; Weber's, Dec. 24, 1906. 110 times. 
The Girl Behind the Counter, Musical Comedy, 2 Acts (Adapted 
from book of Ludham Bantock and Arthur Anderson) ; Lyrics, 
Arthur Anderson; Music, Howard Talbot; Herald Square, Oct. 
1, 1907, 8m. 8f. 260 times. 

Hip! Hip! Hooray! Extravaganza, 2 Acts; Music, Gus Edwards, 
Weber's, Oct. 10, 1907, 8m. 6f. 64 times. 
The Merry-Go-Round, Extravaganza; Lyrics, Paul West; Music, 



THE INFLUENCE OF THE DRAMA 199 

Gus Edwards; New Circle, April 25, 1908, 14m. 8f. 25 times. 
The Mimic World, Musical Review, 2 Acts, 7 Scenes; Music, 
Ben. M. Jerome and Seymour Furth; Casino, July 19, 1908, 17m. 
15f. times. 

Mr. Hamlet of Broadway, Musical Comedy, 2 Acts; Music, 
Ben. M. Jerome; Casino, Dec. 23, 1908, 11m. 5f. times. 

Old Dutch, Musical Play, 2 Acts; Lyrics, George V. Hobart; 
Music, Victor Herbert; Herald Square, Nov. 29, 1909, 7m. 3f. 

times. 
Tillie's Nightmare, Musical Comedy, 2 Acts; Music, A. Baldwin 
Sloane; Herald Square, May 5, 1910, 14m. 13f. times. 

Up and Down Broadway, Musical Comedy, 2 Acts; Lyrics, Wil- 
liam Jerome; Music, Jean Schwartz; Casino, July 18, 1910, 9m. 
8f. times. 

Hokey Pokey, Pot-pourri of Weber-Fields Reminiscences, 2 
Scenes; Lyrics, E. Ray Goetz; Music, John Stromberg, A. Bald- 
win Sloane and W. T. Francis; Broadway, Feb. 8, 1912, 6m. 5f. 
times. 

Bunty Bulls and Strings (Parody on Bunty Pulls the Strings), 
2 Scenes; Lyrics, E. Ray Goetz; Music, A. Baldwin Sloane, 
Broadway, Feb. 8, 1912, 11m. 4f. times. 

Hanky Panky, Musical Comedy, 2 Acts, Book, Lyrics, A. Bald- 
win Sloane, Broadway, Aug. 5, 1912, 7m. 6f. 

SMITH, ROBERT B., 
Fantana, Musical Comedy, Col. Sam S. Shubert; Music, Ray- 
mond Hubbeil; Lyric, Jan. 14, 1905, 7m. 4f. 158 times. 
Mexicana, Col. Clara Driscoll; Comic Opera, 3 Acts; Music, 
Raymond Hubbeil; Lyric, Jan. 29, 1906, m. f. 82 times. 
Mile. Sallie, Musical Comedy, 2 Acts, Revised by Totten Smith; 
Music, Raymond Hubbeil; New York, Dec. 3, 1906, 6m. 3f. 25 
times. 

A Knight for a Day, Musical Farce, 2 Acts; Music, Raymond 
Hubbeil; Wallack's, Dec. 16, 1907, 6m. 4f. 176 times. 
The Spring Maid. See Smith, Harry B. 
Modest Suzanne. See Smith, Harry B. 
The Paradise of Mahomet. See Smith, Harry B. 
The Red Rose. See Smith, Harry B. 
Gypsy Love. See Smith, Harry B. 
Girl from Montmartre. See Smith, Harry B. 

SMITH, HARRY B., 
Miss Dolly Dollars, Musical Comedy, 2 Acts; Music, Victor 
Herbert; Knickerbocker, Sept. 14, 1905, 6m. 4f. 56 times. 
A Madcap Princess, Comic Opera; Music, Ludwig Englander; 
Knickerbocker, Sept. 5, 1904, 12m. 7f. 43 times. 
The White Cat, Musical Spectacle, 3 Acts (Adapted from J. 
Hickory Wood and Glen Collins) : Music, Ludwig Englander 



200 THE INFLUENCE OF THE DRAMA 



and Eugene Schwartz; New Amsterdam, Nov. 2, 1905, 9m. 9f. 
46 times. 

The Free Lance, Comic Opera; Music, John Phillip Sousa; 
New Amsterdam, April 18, 1906, 7m. 7f. 35 times. 
The Rich Mr. Hoggenheimer, Musical Farce, 3 Acts; Music, 
Ludwig Englander; Wallack's, Oct. 22, 1906, 7m. lOf. 196 times. 
The Tatooed Man, Comic Opera; Music, Victor Herbert; Criter- 
ion, Feb. 18, 1907, 9m. llf. 67 times. 

Follies of 1908, Musical Review, 2 Acts, 10 Scenes; Music, 
Maurice Levi; Jardin de Paris, June 15, 1908, 12m. 16f. times. 
The Golden Butterfly, Comic Opera, 3 Acts; Music, Reginald 
de Koven; Broadway, Oct. 12, 1908, 10m. 6f. times. 

Little Nemo, Spectacular Musical Comedy, 3 Acts; Music, Vic- 
tor Herbert; New Amsterdam, Oct. 20. 1908, 11m. 5f. times. 
Miss Innocence, Musical Show, 2 Acts; Music, Ludwig En- 
glander; New York, Nov. 30, 1908, 10m. 5f. times. 
Follies of 1909, Summer Spectacle, 2 Acts, 13 Scenes; Music, 
Maurice Levi; Jardin de Paris, June 14, 1909, 6m. 8f. times. 
The Silver Star, Musical Play, 3 Acts; Music, ; New Am- 
sterdam, Nov. 1, 1909, 9m. 4f. times. 

The Spring Maid, Col. Robert B. Smith; Operetta, 2 Acts (From 
German of Julius Wilhelm and A. M. Willner) ; Music, Hein- 
rich Reinhardt; Liberty, Dec. 26, 1910, 8m. 7f. times. 

Modest Suzanne, Col. Robert B. Smith; Operetta, 3 Acts (From 
George Okonowsky) ; Music, Jean Gilbert; Liberty, Jan. 1, 1911, 
9m. lOf. times. 

The Paradise of Mahomet, Col. Robert B. Smith; Opera Bouffe, 
2 Acts (From French of Henri Blondean) ; Music, Robert Plan- 
quette; Herald Square, Jan. 17, 1911, 10m. 6f. times. 

Little Miss Fix-It, Col. William J. Hurlbut; Musical Play; 
Globe, April 3, 1911, 12m. 13f. times. 

The Red Rose, Col. Robert B. Smith; Musical Comedy, 3 Acts; 
Music, Robert Hood Bowers; Globe, June 22, 1911, 8m. llf. 

times. 
The Siren, Musical Play, 3 Acts (Adapted from Leo Stein and 
A. M. Willner); Music, Leo Fall; Knickerbocker, Aug. 28, 1911, 
6m. 8f. times. 

The Duchess, Col. Joseph Herbert; Comic Opera, 3 Acts; Mus- 
ic, Victor Herbert; Lyric; Oct. 16, 1911, m. f. times. 
Gypsy Love, Col. Robert B. Smith; Opera, 3 Acts (From Ger- 
man of Wilbur and Bodansky) ; Music, Franz Lehar; Globe, 
Oct. 17, 1911, 8m. 7f. times. 

The Enchantress, Col. Fred de Gressac; Comic Opera, 2 Acts; 
Music, Victor Herbert, New York, Oct. 19, 1911, times. 

The Wedding Trip, Col. Fred de Gressac; Comic Opera, 3 Acts; 
Music, Reginald de Koven; Broadway, Dec. 25, 1911, 13m. 5f. 

times. 



THE INFLUENCE OF THE DRAMA 201 



The Bachelor Belles, Musical Comedy, 2 Acts; Music, Ray- 
mond Hubbell; Globe, Nov. 7, 1910, 6m. 19f. times. 
The Follies of 1910, Song Review, 3 Acts, 14 Scenes; Music, 
Gus Edwards; Jardin de Paris, June 20, 1910, 9m. 4f. times. 
The Girl in the Train, Operetta, 3 Acts (From German of Vic- 
tor Leon); Music, Leo Fall; Globe, Oct. 3, 1910, 9m. 4f. times. 
Nearly a Hero, Farce, with Music, 3 Acts, Casino, Feb. 24, 1908, 
8m. 13f. 89 times. 

Ziegfeld Follies, Extravaganza, 2 Acts, 10 Scenes, Book, Music, 
Raymond Hubbell; Moulin Rouge, Oct. 21, 1912. 
Robin Hood, Light Opera, 3 Acts, Book, Music, Reginald de 
Koven (Revived) New Amsterdam, May 6, 1912. 
The Rose Maid, Operetta, 2 Acts (From Bub Oder Maedel) ; 
Col. Raymond Peck, Music, Hugo Gronichetaedter, Lyrics, 
Robert B. Smith; Globe, April 22, 1912, 13m. 13f. 
Girl from Montmartre (French by George Feydean and Rudolph 
Schanzer); Farce, 3 Acts; Music, Henri Beremy; Criterion, 
Aug. 5, 1912, 12m. llf. 

T. 

TANNER, JAMES T., 

The Cingalee, Musical Play, 2 Acts; Lyrics, Adrian Ross and 

Percy Greenbank; Music, Lionel Monckton; Daly's, Oct. 24, 

1904, 7m. 5f. 33 times. 

The Orchid, Col. Joseph W. Herbert, Muiscal Entertainment, 

2 Acts; Lyrics, Adrian Ross and Percy Greenbank; Music, 

Ivan Caryll and Lionel Monckton; Herald Square, April 8, 1907, 

11m. 7f. 202 times. 

Our Miss Gibbs, Musical Comedy, 2 Acts; Music, Ivan Caryll 

and Lionel Monckton; Knickerbocker, Aug. 29, 1910, 9m. lOf. 

times. 
The Quaker Girl, Musical Play, 3 Acts; Lyrics, Adrian Ross 
and Percy Greenbank; Music, Lionel Monckton; Park, Oct. 23, 
1911, m. f. times. 

THOMAS, A. E., 

Little Boy Blue, Col. Edward A. Paulton (From German of 
Rudolph Schanzer and Carl Lindau) ; Music, Henri Beremy; 
Lyric, Nov. 27, 1911, 9m. 9f. times. 

(See Dramatists.) 

U. 

UNGER, GLADYS, 

The Merry Countess (Die Fledermous) ; Music, Johann Strauss, 

Lyrics, Arthur Anderson, 3 Acts, Casino, Aug. 20, 1912, 10m. 

51 

(See Dramatists.) 

V. 

VON BAKINYI, KARL, 

The Gay Hussars, Col. Robert Bodansky; Military Operetta, 3 



202 THE INFLUENCE OF THE DRAMA 



Acts; Knickerbocker, July 29, 1909, 19m. 7f. times. 

VERDI, GUISEPPI, 
La Trouvere (II Trovatore) ; Opera, 8 Acts, Lyric, April 22, 
1912, 6m. 3f. (French Grand Opera Co. of New Orleans.) 

W. 
WOOD, J. H. and COLLINS, ARTHUR, 

Humpty. Dumpty, Pantomime, New Amsterdam, Nov. 14, 1904, 

6m. 3f. 132 times. 
WAGNER, FRANZ, 

Das Himmelbett, Col. Heinz Reich ert; Musical Farce, 3 Acts; 

Music, Fritz Lehner; Irving Place (In German), Nov. 23, 1911, 

5m. 7f. times. 

WEBB, KENNETH S., 

The Peach and Professor, Musical Comedy, 2 Acts; Music, Roy 

D. Webb; Carnegie Hall, Feb. 19, 1912, 8m. 5f. 1 time. 
WILLIAMS, BERT, 

Bandanna Land, Col. George Walker; Musical Comedy, 3 Acts; 

Majestic, Feb. 3, 1908, 13m. llf. 89 times. 
WOODWARD, MATTHEW, 

The Kiss Waltz (From German) ; Music, C. M. Ziehrer, Casino, 

Sept. 28, 1911, 9m. 9f. times. 

WOOLF, EDGAR ALLAN, 

The Wife Hunters, Musical Play, 2 Acts; Lyrics, David Kemp- 

ner; Music, Anatol Friedland and Malvin Franklin; Herald 

Square, Nov. 2, 1911, m. f. times. 

(See Dramatists.) 

Y. 

YOUNG, RIDA JOHNSTON, 

Naughty Marietta, Comic Opera, Acts; Music, Victor Her- 
bert; New York, Nov. 7, 1910, 12m. 8f. times. 
(See Dramatists.) 



UNCLASSIFIED. 

Winsome Winnie, Casino. 

The Serenade, ) Aborn Grand Opera Company, 

Chimes of Normandy, > Lincoln Square Theatre, 

Fra Diavolo. J November, 1907. 

Girlies, Musical Comedy, 2 Acts, New Amsterdam, June 13, 

1910, 21m. llf. times. 



THE INFLUENCE OF THE DRAMA 203 



NOTE. 

The foregoing list of authors and their plays ter- 
minates April, 1912. It has been a difficult matter 
to make the compilation, and the author realizes 
there are of necessity omissions and possibly some 
slight errors in size of casts, number of acts. It 
has been quite impossible to give the number of 
performances of each play as was the original in- 
tention, for the managers are not as desirous as 
formerly of having a public record kept of the num- 
ber of performances their plays have had in New 
York city; their reasons are quite obvious. How- 
ever, it is believed that the Appendix is sufficiently 
complete and accurate to serve its purposes of refer- 
ence in connection with the reading matter of this 
book. 

November, 1912. G. F. S. 



APH 23 1913 



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